The 1929 Barcelona International Exposition (also 1929 Barcelona Universal Exposition, or Expo 1929, in Catalan: Exposició Internacional de Barcelona de 1929) was the second World Fair to be held in Barcelona, the first one being in 1888. It took place from 20 May 1929 to 15 January 1930 in Barcelona, Catalonia, Spain,[1] it was held on Montjuïc, the hill overlooking the harbor, southwest of the city center, and covered an area of 118 hectares (291.58 acres) at an estimated cost of 130 million pesetas ($25,083,921 in United States dollars).[1] Twenty European nations participated in the fair, including Germany, Britain, Belgium, Denmark, France, Hungary, Italy, Norway, Romania and Switzerland; in addition, private organizations from the United States and Japan participated.[1] Latin American countries as well as the United States were represented in the Ibero-Americana section in Sevilla.

The previous 1888 Barcelona Universal Exposition had led to a great advance in the city's economic, architectural and technological growth and development, including the reconstruction of the Parc de la Ciutadella, the city's main public park. A new exposition was proposed to highlight the city's further technological progress and increase awareness abroad of modern Catalan industry, this new exhibition required the urban planning of Montjuïc and its adjacent areas and the renovation of public spaces, principally Plaça d'Espanya.

The idea of a new exhibition began to take shape in 1905, promoted by the architect Josep Puig i Cadafalch, as a way of bringing out the new Plan of links designed by Léon Jaussely, it was initially proposed that the Exposition should be constructed in the area of the Besòs River, but instead, in 1913, planners selected Montjuïc as the site. While originally planned for 1917, the exposition was delayed due to World War I.

Puig i Cadafalch's project was supported by the Fomento del Trabajo Nacional, especially Francesc d'Assis, one of its leaders, who took charge of negotiations with the various agencies involved in the project. Thus, in 1913 the organization created a joint committee for organizing the event, consisting of representatives of the National Labor Development and the City Council, be appointed commissioners of the organization Josep Puig i Cadafalch, Francesc Cambo and Joan Pitch i Pon.

In 1915, the committee presented a first draft by Puig i Cadafalch, which was divided into three specific projects, each commissioned to a team of architects. Puig i Cadafalch and Guillem Busquets reserved the area at the base of the mountain, Lluis Domenech i Montaner and Manuel Vega i March planned the area atop the mountain—designated the International Section, and Enric Sagnier and August Font i Carreras Miramar developed a Maritime Section.

The principal difficulty of the project was the amount of land required, the exposition would need at least 110 hectares, and the Barcelona City Council had only 26 by 1914. Thus, using an 1879 law, they resorted to land-expropriation; in 1917, development work began at Montjuïc, with assistant engineer Marià Rubio i Bellver. Landscaping was done by Jean-Claude Nicolas Forestier, who was assisted by Maria Rubio i Tudurí Nicolau, their design was distinctly Mediterranean, with classical influences, combining the gardens with the construction of pergolas and terraces. Likewise, a funicular was built to allow access to the top of the mountain, as well as an aerial tram, which connected the mountain with the Port of Barcelona. However, the aerial tram did not open until 1931, after the fair was closed.

Construction, while somewhat delayed, was completed in 1923, but the introduction that year of the dictatorship of Primo de Rivera delayed the actual exposition, which finally occurred in 1929, coinciding with the Ibero-American Exhibition in Seville. Also, the delay made obsolete the goal of promoting electrical industry, so that in 1925 the event was renamed the International Exhibition in Barcelona, the change of objective led to the reorganization of the exhibition, so that it was devoted to three aspects: industry, the sports, and art. In this new period, the organization fell into the hands of Pere Domènech i Roura, the Marquis de Foronda, and Director of Works.

Further development of the event allowed for a great stylistic diversity in the buildings of various architects, some loyal to the Noucentisme prevailing at the time, others reflecting recurring historicist and eclectic trends that persisted since the late 19th century, with particular influence from the Spanish Baroque, in particular the architecture of Santiago de Compostela, in Galicia. Despite this diversity, most buildings—at least the official ones—had a common theme of monumentality and grandiosity; in contrast, buildings in the International Section, home to pavilions representing other countries and institutions, had a more contemporary aspect, parallel to the current state of the art of the period. This particularly included Art Deco and rationalism.

The exposition was opened by King Alfonso XIII on 19 May 1929. Led by Mayor Darius Rumeu y Freixa, baron de Viver, and Manuel de Álvarez-Cuevas y Olivella, President of the Organizing Committee, it was attended by some 200,000 people in the general public and by many Catalan political, economic, and cultural figures, including the Prime Minister (and dictator) Miguel Primo de Rivera.

In terms of cost, the exhibition lost money, with a deficit of 180 million pesetas, its success was relative; during the event the stock market crashed in New York, on 29 October 1929, which reduced the number of participants in the event. At the social level, it was great success as it allowed for a large influx of people and achievements for the city of Barcelona, especially in the fields of architecture and urbanism.

The Exposition Center, el recinte de l'Exposició, was built to designs by Puig i Cadafalch with two different types of buildings: palaces, the sections devoted to the official competition; and flags, representing countries, institutions and companies. The exposition's main axis began at the Plaça d'Espanya, where four large hotels were built, through the Avenue of Americas (now the Avinguda de la Reina Maria Cristina), which housed the grand buildings of the Exposition, to the foot of the mountain, the site of the "Magic Fountain", the Palaces Alfonso XIII and Victoria Eugenia, and a monumental staircase.

The Avenue of the Americas was decorated with numerous fountains, as well as glass columns—illuminated by electricity—designed by Charles Buïgas, which caused a great sensation, on both sides of the avenue were the main buildings of the Exposition: Palace of Costumes; the Palace of Communications and Transport; and the Palace of Metallurgy, Electricity and Locomotion. Today, these buildings are used as exposition spaces in the Barcelona Trade Fair. Along the avenue was Mechanics Square (now the Plaça de l'Univers), at the center of which stood the "Tower of Light", and the sculpture El Treball, by Josep Llimona.

The Plaça d'Espanya was included in Ildefons Cerdà's plan for the expansion of Barcelona, the Eixample, it was to be a major point of communication in the route between Barcelona and the towns of Baix Llobregat. After a first draft by the urbanized square Josep Amargós in 1915, the square was finally built to plans by Josep Puig i Cadafalch and Guillem Busquets, and then finished by Antoni Darder i Marsa, it was fully complete by 1926. They designed the square as a monumental rotary, to be surrounded by a Baroque colonnade, the design was influenced by Bernini's St. Peter's Square in Rome. Dividing the square from the Avenue of the Americas Ramon Reventós designed two bell[citation needed]-towers, known as the Venetian Towers, which were heavily influenced by St. Mark's Campanile in Venice.

The famous Magic Fountain of Montjuïc, designed by Carles Buïgas, was constructed in 1929 on Avinguda Maria Cristina at the foot of Montjuic,[3] and amazed the public with its light and water displays. Today, it is still an emblem of the Catalan capital, and musical lightshows are often performed there during the annual festival of La Mercè, as well as during every weekend, it enchants the public with a backdrop of the Museu Nacional d'Art de Catalunya. Originally, four columns were built in this location by Puig i Cadafalch to represent the Catalan flag, but these were removed by Spanish dictator Primo de Rivera's orders.

The Communications and Transport Centre: Designed by Félix de Azúa and Adolf Florensa in 1926, it was built in a neoclassical style inspired by the architecture of the French academy. It was one of the largest buildings of the Exposition, with an area of 16,000 m2, with entrances onto the Plaza de España and Avenida de la Reina María Cristina, its structure is organised around a floor projecting out onto Plaza de España and supported by columnds. The Avenida's façade is in the form of a triumphal arch, finished off with a group of sculptures including the figure of a '’Victoria'’, it is currently part of the Barcelona Trade Fair.[4]

The Clothing Centre (or Labour Centre): initially named the Centre of Pedagogy, Hygiene and Social Institutions, it was designed by Josep Maria Jujol and Andrés Calzada, and is located between the Plaza de España and the Avenida de la Reina María Cristina. With an area of 6,500 m2, like the Communications and Transport Centre its structure had to be adapted to an elevated room supported on columns over the Plaza de España, with an irregularly shaped floor arrayed around a central space, with a large rotunda topped by an eastern-style dome. This building is also part of the Barcelona Trade Fair.

The Centre for Metallurgy, Electricity and Motive Force: the work of Amadeu Llopart and Alexandre Soler i March, this building has an area of 16,000 m2. From its rectangular plan, a large polyhedral dome rises from its centre, with a lantern but no drum, possibly inspired by Bruno Taut's glass pavilion, built for the Deutscher Werkbund in Cologne. The façade is notable for its large classical pediment, decorated by Francesc d'Assís Galí's frescoes (he also painted the entrance hall's soffits, together with Josep Obiols and Manuel Humbert). To either side of the building are large towers with allegorical sculptures by Enric Casanovas, this building is also part of the Barcelona Trade Fair.[5]

The Centre for Textile Arts: designed by Joan Roig and Emili Canosa, this was situated between the Communications and Transport Centre and the Projection Centre, with its entrance on the Plaza del Universo. With an area of 20,000 m2, it was dedicated to the textile industry, with booths for Spanish, German, Austrian, French, Italian and Swiss companies, the central body of the building is in renaissance style, while the taller façade was neoclassical, with a balustrade castellated in the Plateresque style and two domed towers. Its interior housed an exhibition on silk, promoted by Germany and designed by Ludwig Mies van der Rohe and interior designer Lilly Reich, the first example of the German architect's creative genius, he conceived a well-lit, open space, neoplasticist in structure, where a skilled use of space achieved a feeling of open space throughout the room. The 50th Anniversary Centre, belonging to the Barcelona Trade Fair, was built in its place.[6]

The Projection Centre: designed by Eusebi Bona and Francisco Aznar, this building is situated between the Avenida de la Reina María Cristina, the Avenida Rius i Taulet and the Plaza del Universo. With an area of 10.000 m2, it had two floors, the first with a large showroom, with a stage and projection room, and various exhibition rooms. The building's façade is notable, in the classical, monumental style, decorated with sculptures by Joan Pueyo: four groups of caryatids with bisons, four groups of sphinxes and two fountains, carved in artificial stone. Removed after the Exposition, the current Convention Centre was built in its place. Next to this building were the Exposition's offices, now a college (CEIP Jacint Verdaguer), designed by Juan Bruguera.

The Alfonso XIII and Victoria Eugenia Centres: originally named the Centres for Modern Art and Architecture, they were designed by Josep Puig i Cadafalch y Guillem Busquets, symmetrically located next to the Magic Fountain, at the foot of the Palau Nacional. These were the first buildings to be constructed, completed in 1923, when they housed the a Furniture and Interior Decoration Exposition as a trial run for the later event, each had a surface area of 14,000 m2, rectangular floors formed by quadrangular modules, and a set of four towers for each building, topped by pinnacles in the shape of pyramids and decorated with sgraffito, representing Solomonic columns and plant motifs. The Alfonso XIII Centre was dedicated to Construction, while the Victoria Eugenia housed the representatives of countries without their own pavilions, it is currently part of the Barcelona Trade Fair.[7]

The City of Barcelona Pavilion: a work designed by architect Josep Goday in the noucentist style. It hosted an exhibition about past, present and future of the host city. Located between the Plaza de los Bellos Oficios (today Plaça de Carles Buïgas), the Avenida de la Técnica (currently career de la Guardia Urbana), the Avenida Rius i Taulet and the Alfonso XIII Centre, it covered an area of 2,115 m2, it is a brick and Montjuic stone building. Its façade is decorated with several sculptures, allegories of Barcelona and its history, carved by sculptors Frederic Marès, Eusebi Arnau and Pere Jou, it is currently the Guardia Urbana de Barcelona headquarters.

The Press Centre: dedicated to the magazines and daily papers printed in Barcelona at that time, this building was designed by Pere Domènech i Roura. Located on Avenida Rius i Taulet, it currently houses the Guardia Urbana de Barcelona, with an area of 600 m2, it has a basement and three floors, with several styles mixed in a historistic concept: neo-Mudéjar, neo-Romanesque, neo-Gothic, etc. Domènech used various modernist elements, such as facebrick, iron and ceramics, being influenced by his father, Lluís Domènech i Montaner.

The Centre for Decorative and Applied Arts: located between calle Lérida and the Avenida de la Técnica, this building was designed by Manuel Casas and Manuel Puig and had an area of 12,000 m2. The building was organised around a central patio, covered by a rectangular glass structure; the rest of the building was in a French baroque style, with a monumental appearance. The façade displayed a set of receding and protruding shapes, from which two large towers topped with domes and lanterns stood out; in 1955, the Palau dels Esports de Barcelona (now the Barcelona Teatre Musical) was built in its place.

The Graphical Arts Centre: located on the Paseo de Santa Madrona, this was designed by Raimon Duran i Reynals and Pelai Martínez, in a Noucentist style influenced by the Italian Renaissance, particularly Filippo Brunelleschi, Donato Bramante and Andrea Palladio. With an area of 4,000 m2, it was dedicated to the graphical arts, particularly book printing. Entrance was via a staircase and two lateral ramps for vehicles, with a façade formed by arcaded galleries, with pavilions to the sides and a central drum over which a dome is elevated. Once again, the German exhibition designed by Mies van der Rohe and Lilly Reich stood out, composed of glass cabinets in geometric shapes, since 1935 it has housed the Archeological Museum of Catalonia.[9]

The Centre of Agriculture: designed by Josep Maria Ribas i Casas and Manuel Maria Mayol, it is located between Paseo de Santa Madrona and calle Lérida. With an area of 16,000 m2, it is arranged around a central patio, with five rectangular naves and two arcaded galleries. Influenced by the Italian Renaissance—particularly by Lombardy—the façades of the various façades are covered by stucco and ceramincs, with several octagonal towers and triple arches, it is now known as the "Mercat de les Flors" (Market of the Flowers) and is occupied by the Theatre City, which includes the Theatre Institute, the Teatre Lliure Foundation, the Mercat de les Flors Municipal Theatre and the Fabià Puigserver Theatre.[10]

The Spanish Pavilion: designed by Antoni Darder, with an area of 4,500 m2, was designed for representatives from the Government and ministries. It consists of a central body and two symmetrical wings, with towers at each end, it was inspired by the Plateresque style, with semicircular arches and Corinthian columns. It was demolished after the Exposition.

The Delegation Centre: designed by Enric Sagnier i Villavecchia, it is located between the Avenida del Marqués de Comillas and the Avenida de Montanyans, opposite the Plaza de la Hidráulica (now the Plaza de Sant Jordi; the fountain of Ceres and an equestrian statue of Saint George by Josep Llimona were located here). With an area of 2,350 m2, it was dedicated to the representatives of provincial Spanish delegations. Designed in a Gothic-Plateresque style, the main façade was concave, with a central tower and two symmetrical wings with crenellated arches and towers at their extremes, the Royal shield and the shields of Catalonia, León and Barcelona were displayed on the façade.

The Chemistry Centre: designed by Antoni Sardà, this building was designed to display sports-related material, but at the last moment its function was changed in order to dedicated it to the chemical industry. With an area of 4,500 m2, it was located in the Avenida de Montanyans, next to the Delegation Centre. Classically styled, the main façade was divided into three sections, the central section having a colonnaded entrance and a ribbed dome over a decagonal drum, from 1932 to 1962, when it was destroyed in a fire, it was the seat of Orphea Cinematographic Studios.[11]

The Royal Pavilion: now known as Albéniz Palace, it housed the representatives of the Spanish Royal House. Located close to the Stadium, surrounded by spacious gardens, it was designed by Juan Moya in a baroque style inspired by the 18th-century French courts, the interior decoration is in the Empire style, most notably the tapestries designed by Francisco Goya and a room of mirrors copied from Versailles. Extended in 1970 and decorated by Salvador Dalí paintings, it is currently used in certain ceremonies and public acts.

The Centre for Modern Art: designed by Antoni Darder in 1927, it had an area of 5,000 m2 and is located between the Royal Pavilion and the Centre of Missions. It formed part of the "Art in Spain" section, containing collections of paintings, sculpture, drawings and engravings from the 19th century. Rectangular in plan, its main façade had a central body and two symmetrical wings, with a central structure in the form of semicircular arches resembling the work of the Italian architect Filippo Juvara.

The Centre of Missions: designed by Antoni Darder, it had area of 5,000 m2, dedicated to displaying the work of missionary institutions. The main façade was inspired by Romanesque churches, with semicircular arches built with semicircular arches with voussoirs, long, narrow windows and pentagonal tops, the building was rectangular in plan, with an octagonal dome inspired by the Italian Renaissance.

The Southern Palace: designed by Antoni Millàs, it was located in the Avenida Internacional (now the Avenida del Estadio). With an area of 26,000 m2, it was rectangular in plan, with three naves covered by square modules with skylight-style openings, it was located in a place initially planned to hold an aviation field, which was never built.

As the Ibero-American Exposition of 1929 was taking place simultaneously in Seville, no Spanish American countries participated. From the remaining countries, the official participants were Austria, Belgium, Czechoslovakia, Denmark, Finland, France, German, Hungary, Italy, Norway, Romania, Sweden, Switzerland and the State of Slovenes, Croats and Serbs (later Yugoslavia); most of these countries had their own pavilions, except for Austria, Czechoslovakia, Finland and Switzerland. Apart from these countries, Japan, the Netherlands, Portugal, the United Kingdom and the United States participated in an unofficial capacity, each country had a week dedicated to it throughout the course of the event, with a highlight of the German week being the flight of the Graf Zeppelinairship over Barcelona, on 16 May 1929.

German pavilion.

German Pavilion: this is considered to be one of its architect's master works, Ludwig Mies van der Rohe. It is one of the best examples of the international style of architecture due to its purity of form, its spatial concept and its intelligent use of structures and materials, which turned this pavilion into the quintessential piece of 20th-century architecture; in 1928 Mies was contracted to build the official German pavilion together with the Electricity Supply pavilion and several exhibits in the Official Section's buildings, with the collaboration of interior designer Lilly Reich. Rectangular in shape, it is elevated on a travertine-covered podium; the covering was supported on cross-shaped columns and load-bearing walls, with side walls of different materials (plaster-covered bricks, steel covered by green marble and Moroccan onyx). Its decoration was reduced to two ponds and a sculpture, La Mañana, by Georg Kolbe. Demolished after the Exhibition, it was reconstructed between 1985 and 1987 in its original location by Cristian Cirici, Ignasi de Solà-Morales and Fernando Ramos, following Mies van der Rohe's plans.[12]

Belgian Pavilion: designed by the architect Verhelle,[13] this was next to the Spanish Pavilion. Rectangular in shape, it was inspired by the Hof von Busleyden in Mechelen, built when Margaret of Austria established the court there,[14] notable for a watchtower twice the height of the building.

Danish Pavilion: designed by Tyge Hvass, this was a dihedron of reddish wood with a gabled roof, evoking a typical Danish mountain house. The façade showed an embossed Danish flag, anchor, wheat sheaf and cog wheel, typical elements of the Danish economy.

French Pavilion: designed by Georges Wybo, in a classical style with art deco elements, this was located next to the Alfonso XIII centre. It was a single-volume building in the shape of a cube, with its roof formed by superimposed stepped rectangular sections, like a ziggurat, with a sculpture at the front in the shape of a woman and the initials R. F. (République Française).

Hungarian Pavilion: designed by Dénes György and Nikolaus Menyhért, this was made up of two rectangular sections, with a tower over it in the shape of a prism. An example of expressionist architecture, the geometrical synthesis of its structure evoked the architecture of the Pre-Columbian era.[15]

Italian Pavilion: designed by Piero Portaluppi, this was located between the Spanish and Swedish pavilions. It had a surface area of 4,500 m2, in the shape of a U, a renaissance classical style and a monumental atmosphere, the façade had some columns with the eagle of the Roman Empire, a frieze with the country's name and a fronton finished off with a statue of Minerva.

Norwegian Pavilion: designed by Ole Lind Schistad, this was wooden like the Danish pavilion, with a similar likeness to mountain buildings, with shuttered windows and a sloped roof.

Serbian, Croatian and Slovene Pavilion: representing the country which would later be known as Yugoslavia, this was designed by the architect Dragiša Brašovan and located next to the Palau Nacional. Avant-garde in conception, it was a star-shaped building with the façade made from wooden strips arranged in horizontal black and white stripes.

Romanian Pavilion: designed by Duiliu Marcu, this was a rectangular building with a tower to one side and a gabled roof, panelled with wood and stucco. The façade had a series of arches ending in a pergola, with architectural elements characteristic of Transylvania.

Swedish Pavilion: designed by Peder Clason, as with the other Scandinavian buildings it was built of wood, rectangular and with a geometric structure within the avant-garde currents of the time, such as neoplasticism. Next to the entrance door was a conical wooden tower, topped with three superimposed horizontal discs; it was named "Funkis", Swedish abbreviation for functionalism at the beginning of the 20th century. Both the building and the tower were dismantled after the Exhibition and reconstructed in Berga, where the pavilion served as a school up until the Spanish Civil War when the building was demolished at the beginning of the 1960s. There is currently a project to rebuild the tower next to the Olympic Museum, near its original location.

Pavilion of the Barcelona Bank Savings and Pensions: located on Paseo de Santa Madrona, this was designed by Josep Maria Ribas i Casas and Manuel Maria Mayol. Eclectic in style, it presents structural solutions based on various different styles: the central section was inspired by Spanish palacial architecture of the 18th century, while the lateral parts are based on civil architecture of northern Italy and the loggias are reminiscent of 19th century tastes in Mediterranean villas, because of its raised location, terraces with illuminated fountains were located at its entrance. Since 1982 it has been the headquarters of the Cartographic Institute of Catalonia.[citation needed]

Pavilion of the Compañía General de Tabacos de Filipinas: located on Paseo de Santa Madrona, it was designed by Antoni Darder and constructed in 1928. The building is U-shaped, surrounded by gardens, and has a tower to one side and an octagonal dome over its central section. Darder followed the "art deco" style which was popular in the 1920s, with an intelligent distribution of internal space and a playful use of exterior volume; in 1932 it became the Forestier Municipal Kindergarten.[16]

German Electricity Supply Pavilion (Electric Supplies Co.): designed by Ludwig Mies van der Rohe and Lilly Reich, it was located in Plaza de la Luz, between the Communications and Transport Centre and the Centre for Textile Arts. The company Electric Supplies Co. was in charge of supplying electricity for the entire Exhibition grounds. A rectangular single-volume building, similar to an industrial ship, it went almost unnoticed during the event, being one of Mies' least well-regarded works and one of the last in which he used brick walls, passing on to using glass from then on.[17]

Can Jorba: the commercial company Jorba was presented in Can ("house of" in Catalan) Jorba, a small structure in the shape of the Eiffel Tower with the initials of the sponsoring brand built in: the J at the top and the A at the base of the tower.

Pavilion of the Hydrographic Confederation of Ebro: designed by Regino Borobio, this was one of the few Spanish buildings in an avant-garde style, being a building in the shape of a horizontal box with a tall signal tower.[18]

Pavilion of the Hispano-Suiza Company: designed by Eusebi Bona, it was located in the viewpoint opposite the Palau Nacional.

Artists' Gathering Pavilion: designed by Jaume Mestres i Fossas, its objective was to present the works of various Catalan artists who were not represented in the official section, for which reason it coexisted in private form. The building, in an art deco style, was octagonal with a stepped dome, while the interior distribution of space and decoration were rationalist in style, one of the few national examples of avant-garde type. Participating artists included Pablo Gargallo, Josep Granyer, Josep Llorens i Artigas, Lluís Mercadé, Josep de Togores, Josep Obiols, Miquel Soldevila, Jaume Mercadé, etc., displaying paintings, sculpture, ceramics, furniture, jewellery, enamel, woven rugs and other works of art, most of which fell within the sphere of art deco.[19]

The landscaping of Montjuic mountain left works like the Teatre Grec, an open-air theatre inspired by ancient Greek theatres (particularly the Epidaurus), designed by Ramon Reventós. Located in the site of an old quarry, it has a 460 m2 semicircular area, with a diameter of 70 m and a 2,000 person capacity,[20] it is currently the site of a summer festival in Barcelona, the Festival Grec.

The theatre is situated within Laribal Gardens, designed by Forestier and Rubió, where the famous "Cat Fountain" is located at the entrance to a building by Puig i Cadafalch which has been convertred into a restaurant (1925). There are many sculptures in the gardens, with works by Josep Viladomat, Enric Casanovas, Josep Clarà, Pablo Gargallo, Antoni Alsina, Joan Rebull, Josep Dunyach, etc; in the Miramar zone the Montjuic swimming pool was built, as well as a restaurant which in 1959 became the first RTVE studio in Barcelona.[21]

At the top of the hill, next to the International Section, the Olympic Stadium was built by Pere Domènech i Roura within the sports section, it had a surface area of 66,075 m2 and a 62,000 person capacity, making it the second biggest stadium in Europe at the time, after Wembley. It contained fields for the practice of football and other sports, as well as athletics tracks and installations for various other sports such as boxing, gymnastics and fencing, as well as tennis courts and a swimming pool, the main façade was monumental in atmosphere, with a dome and a tall tower topped with a shrine. It was decorated with sculptures, most notably the "Horse riders making the Olympic salute", two bronze equestrian sculptures by Pablo Gargallo, the building was remodelled by the architects Vittorio Gregotti, Frederic de Correa, Alfons Milà, Joan Margarit and Carles Buxadé for the 1992 Summer Olympics.[22]

One work which had great public success was the Poble Espanyol ("Spanish Town"), a small showground containing reproductions of different urban and architectural environments from the entire national territory, in an atmosphere which ranges from the folkloric to the strictly archaeological. It was designed by the architects Ramon Reventós and Francesc Folguera, with the artistic advice of Miquel Utrillo and Xavier Nogués, the exhibition is divided into six regional areas: Castile and Extremadura, Basque Country and Navarre, Catalonia, Valencia and the Balearic Islands, Andalusia, Aragon and Galicia, around a Grand Plaza and surrounded by walls (a replica of the walls of Ávila). With a surface area of 20,000 m2, it contains 600 buildings, of which 200 can be visited, among the monuments reproduced some of the most notable are the Mudéjar belltower of Utebo (Zaragoza), the palaces of the marquis of Peñaflor (Seville) and of Ovando Solís (Cáceres), the cloister of Sant Benet de Bages and the Roman belltower of Taradell.[23]

Just as in 1888, the 1929 Exhibition had a great impact on the city of Barcelona at an urban level, not only in Montjuic district, since improvement and refurbishment works were carried out throughout the city: Tetuán, Urquinaona and Letamendi squares were landscaped; the Marina bridge was built; the Plaça de Catalunya was urbanised; and the Avinguda Diagonal was extended to the west and the Gran Via de les Corts Catalanes to the southwest. Various public works were also carried out: street paving and sewer systems were improved, public bathrooms were installed and gas lighting was replaced with electricity, the tradition of ongoing fairs, the Fira de Barcelona, was established.

At the same time, several buildings were remodelled, such as the City Hall, where Josep Maria Sert painted the Salón de Crónicas, and the Generalitat, where the flamboyant bridge over Bisbe street was built. The post office and the Estació de França (France Station) were completed after having spent several years under construction, the Palau Reial de Pedralbes was also built as a residence for the royal family, designed by Eusebi Bona and Francesc Nebot. During this period the first skyscraper in Barcelona was also constructed: the Telefónica building on the corner of Fontanella and Portal del Ángel, designed by Francesc Nebot.

Finally, they improved the city's communications, with construction during the 1920s of the Barcelona El Prat Airport, the removal of level crossings within the city, the improvement of links with the city's peripheral neighbourhoods, the Sarrià train being moved underground (Ferrocarrils de la Generalitat de Catalunya), the electrification of public trams and the extension of metro line 3 to Sants, connecting the Plaza de España with the Exhibition district. The construction of all these public works lead to a great demand for workers, causing a large increase in immigration to the city from all parts of Spain, at the same time, the increase in population lead to the construction of various workers' districts with "cheap housing", such as the Aunós Group in Montjuic and the Milans del Bosch and Baró de Viver Groups in Besós.[24]

^The bibliography consulted does not state the first name of this architect, but it could well be Arthur Verhelle, who also created the Belgian Pavilion of the 1922 Exhibition in Rio de Janeiro. "Rue Blanche 33". Retrieved 7 December 2008.

1.
Barcelona
–
Founded as a Roman city, in the Middle Ages Barcelona became the capital of the County of Barcelona. Barcelona has a cultural heritage and is today an important cultural centre. Particularly renowned are the works of Antoni Gaudí and Lluís Domènech i Montaner. The headquarters of the Union for the Mediterranean is located in Barcelona, the city is known for hosting the 1992 Summer Olympics as well as world-class conferences and expositions and also many international sport tournaments. It is a cultural and economic centre in southwestern Europe, 24th in the world. In 2008 it was the fourth most economically powerful city by GDP in the European Union, in 2012 Barcelona had a GDP of $170 billion, it is leading Spain in both employment rate and GDP per capita change. In 2009 the city was ranked Europes third and one of the worlds most successful as a city brand, since 2011 Barcelona has been a leading smart city in Europe. During the Middle Ages, the city was known as Barchinona, Barçalona, Barchelonaa. Internationally, Barcelonas name is abbreviated to Barça. However, this refers only to FC Barcelona, the football club. The common abbreviated form used by locals is Barna, another common abbreviation is BCN, which is also the IATA airport code of the Barcelona-El Prat Airport. The city is referred to as the Ciutat Comtal in Catalan. The origin of the earliest settlement at the site of present-day Barcelona is unclear, the ruins of an early settlement have been excavated in the El Raval neighbourhood, including different tombs and dwellings dating to earlier than 5000 BC. The founding of Barcelona is the subject of two different legends, the first attributes the founding of the city to the mythological Hercules. In about 15 BC, the Romans redrew the town as a castrum centred on the Mons Taber, under the Romans, it was a colony with the surname of Faventia, or, in full, Colonia Faventia Julia Augusta Pia Barcino or Colonia Julia Augusta Faventia Paterna Barcino. It enjoyed immunity from imperial burdens, the city minted its own coins, some from the era of Galba survive. Some remaining fragments of the Roman walls have incorporated into the cathedral. The cathedral, also known as the Basilica La Seu, is said to have founded in 343

2.
Bureau International des Expositions
–
To February 4,2016,169 member countries have adhered to the BIE Convention. The BIE regulates two types of expositions, Registered Exhibitions and Recognized Exhibitions, Horticultural Exhibitions with an A1 grade, regulated by the International Association of Horticultural Producers, are recognized since 1960. The USA had its membership of the BIE withdrawn in June 2001, the cause was the non-allocation of funds by the U. S. Congress for two years. The United States Congress has not provided a reason for failing to pay membership. The BIE remains open to participation from the United States, in a letter from April 20,2006, the secretary-general said, As you are aware, the United States government withdrew from the BIE in June 2001. Citizens realize and would welcome the strong impact a worlds fair can have on their city, state and it would be wonderful to, once again, attend an exhibition in the United States. Participation in the BIE is controlled by the Senate Foreign Relations Committee, rydell said the 1982 fair was not as bad as many people make it out to be. Since the start of the 21st century, Universal Expositions may occur every five years, lasting six months, on 5 and 0 ending years, i. e. Expo 2010 in Shanghai, Expo 2015 in Milan, and so forth. Countries, international organizations, civil societies, and corporations are allowed to participate in Registered Expositions, the Plaza of Africa at Seville was constructed for the same purpose. Registered Expositions are also massive in scale, sometimes 300 or 400 hectares in size, montreals Expo 67 attracted 54 million visitors, Osakas Expo 70,64 million visitors, the Seville Expo 92,41 million visitors and Shanghais Expo 2010 attracted 70 million visitors. Countries, international organizations, civil societies, and corporations are allowed to participate, the pavilions are built by the hosts and not the participants, and there is no rent for pavilions. Nevertheless, the largest pavilion may be no larger than 1000 square meters, for this reason Recognized Expositions are cheaper to run than Registered Expositions, and more money is spent on content of the pavilion as opposed to its design. A nation or organization does not need to be a member of the B. I. E. to be represented at a B. I. E, the use of mascots in World Exposition began with the 1984 Louisiana World Exposition. Seymore D. Fair, a 76 tall white pelican, was the mascot of the 1984 Louisiana World Exposition as well as the first mascot at any worlds fair. Seymore was seen as a way to highlight the water theme. Seymore D.9 in E Minor From the New World

3.
Century of Progress
–
The theme of the fair was technological innovation. A Century of Progress was organized as an Illinois nonprofit corporation in January 1928 for the purpose of planning and hosting a Worlds Fair in Chicago in 1934. City officials designated three and a half miles of reclaimed land along the shore of Lake Michigan between 12th and 39th streets on the Near South Side for the fairgrounds. Held on a 427 acres portion of Burnham Park the Century of Progress opened on May 27,1933, the fairs opening night began with a nod to the heavens. Lights were automatically activated when the rays of the star Arcturus were detected, the star was chosen as its light had started its journey at about the time of the previous Chicago worlds fair—the Worlds Columbian Exposition—in 1893. The rays were focused on cells in a series of astronomical observatories. The fair buildings were multi-colored, to create a Rainbow City as opposed to the White City of the Worlds Columbian Exposition, the buildings generally followed Moderne architecture in contrast to the neoclassical themes used at the 1893 fair. One famous feature of the fair were the performances of fan dancer Sally Rand, other popular exhibits were the various auto manufacturers, the Midway, and a recreation of important scenes from Chicagos history. One of the highlights of the 1933 Worlds Fair was the arrival of the German airship Graf Zeppelin on October 26,1933, after circling Lake Michigan near the exposition for two hours, Commander Hugo Eckener landed the 776-foot airship at the nearby Curtiss-Wright Airport in Glenview. It remained on the ground for twenty-five minutes then took off ahead of a weather front bound for Akron. This triggered dissension in the days following its visit, particularly within the citys large German-American population, but it was Packard which won the best of show. Marine artist Hilda Goldblatt Gorenstein painted twelve murals for the Navys exhibit in the Federal Building for the fair, the first Major League Baseball All-Star Game was held at Comiskey Park in conjunction with the fair. To cap its record-breaking speed run, the Zephyr arrived dramatically on-stage at the fairs Wings of a Century transportation pageant, the two trains launched an era of industrial streamlining. Both trains later went into revenue service, the Union Pacifics as the City of Salina. The Zephyr is now on exhibit at Chicagos Museum of Science, Frank Buck furnished a wild animal exhibit, Frank Buck’s Jungle Camp. Over two million people visited Buck’s reproduction of the camp he and his native assistants lived in while collecting animals in Asia, after the fair closed, Buck moved the camp to a compound he had created at Amityville, New York. Planning for the design of the Exposition began over five years prior to Opening Day, local architects on the committee included Edward Bennett, John Holabird, and Hubert Burnham. Frank Lloyd Wright was specifically left off the commission due to his inability to work well with others, members of this committee ended up designing most of the large, thematic exhibition pavilions

4.
Ibero-American Exposition of 1929
–
The Ibero-American Exposition of 1929 was a worlds fair held in Seville, Spain, from 9 May 1929 until 21 June 1930. Each Spanish region and each of the provinces of Andalusia were also represented, spain’s Dictator General Miguel Primo de Rivera gave the opening address. Primo de Rivera allowed the Spanish King Alfonso XIII to give the final words, the purpose of the exposition was to improve relations between Spain and the countries in attendance, many of which were former Spanish colonies. Other countries were represented at the International section in Barcelona, the exposition was smaller in scale than the International Exposition held in Barcelona during that same year, but it was not lacking in style. The city of Seville had prepared for the Exposition over the course of 19 years, the exhibition buildings were constructed in María Luisa Park along the Guadalquivir River. A majority of the buildings were built to remain permanent after the closing of the exposition, many of the foreign buildings, including the United States exhibition building, were to be used as consulates after the closing of the exhibits. By the opening of the all of the buildings were complete. Spain spent an amount of money in developing its exhibits for the fair. The exhibits were designed to show the social and economic progress of Spain as well as expressing its culture, Spanish architect Don Aníbal González designed the largest and most famous of the buildings, which surrounded the Plaza de España. The largest of the exhibits housed in building was located in the “Salón del Descubrimento de América. An exact replica of Columbus’s ship the “Santa María, ” complete with a costumed crew, the cities of Spain contributed structures designed to reflect their unique cultures to be placed in the “Pabellones de las regiones españolas”. Spain’s exhibits also included a collection of art located in the Palacio Mudéjar, Palacio Renacimiento. The Institute of Art from the University of Seville was moved to the Palacio Mudéjar for the duration of the exposition on the permission gained from the committee by Count Columbi. The committee also set aside funds from their budget to purchase materials for the Institute, the main building was to serve as the U. S. Of the Ibero-American nations in attendance of the exposition,10 constructed pavilions to display their exhibits, other nations, including Bolivia, Panama, El Salvador, Costa Rica, and Ecuador displayed their native products in the “Galerías comerciales americanas”. The largest of the ten pavilions was the Peruvian pavilion, which was designed by the architect Don Manuel Piqueras Cotolí, the pavilion contained a large archeology collection consisting of three halls filled with pre-Columbian era artifacts, which were to be kept on permanent display. The pavilion also contained an agricultural exhibit filled with stuffed vicuñas, alpacas, llamas, the exhibit was complemented by a pack of live llamas grazing on the pavilion grounds. The Republic of Colombia constructed a pavilion designed by Seville architect José Granados, the pavilion included a collection of sculpture and artwork by Colombian artist Rómulo Rozo, and of Colombian emeralds, and a coffee café that demonstrated all of the steps in coffee cultivation

5.
Seville
–
Seville is the capital and largest city of the autonomous community of Andalusia and the province of Seville, Spain. It is situated on the plain of the river Guadalquivir, the inhabitants of the city are known as sevillanos or hispalenses, after the Roman name of the city, Hispalis. Its Old Town, with an area of 4 square kilometres, the Seville harbour, located about 80 kilometres from the Atlantic Ocean, is the only river port in Spain. Seville is also the hottest major metropolitan area in the geographical Western Europe, Seville was founded as the Roman city of Hispalis. It later became known as Ishbiliya after the Muslim conquest in 712, in 1519, Ferdinand Magellan departed from Seville for the first circumnavigation of the Earth. Spal is the oldest known name for Seville and it appears to have originated during the Phoenician colonisation of the Tartessian culture in south-western Iberia and, according to Manuel Pellicer Catalán, meant lowland in the Phoenician language. During Roman rule, the name was Latinised as Hispalis, nO8DO is the official motto of Seville. It is popularly believed to be a rebus signifying the Spanish No me ha dejado, meaning It has not abandoned me, the eight in the middle represents a madeja, or skein of wool. The emblem is present on the flag and features on city property such as manhole covers. Seville is approximately 2,200 years old, the passage of the various civilisations instrumental in its growth has left the city with a distinct personality, and a large and well-preserved historical centre. The city was known from Roman times as Hispalis, important archaeological remains also exist in the nearby towns of Santiponce and Carmona. The walls surrounding the city were built during the rule of Julius Caesar. Following Roman rule, there were successive conquests of the Roman province of Hispania Baetica by the Vandals, the Suebi, Seville was taken by the Moors, Muslims from North of Africa, during the conquest of Hispalis in 712. It was the capital for the kings of the Umayyad Caliphate, the Moorish urban influences continued and are present in contemporary Seville, for instance in the custom of decorating with herbaje and small fountains the courtyards of the houses. However, most buildings of the Moorish aesthetic actually belong to the Mudéjar style of Islamic art, developed under Christian rule and inspired by the Arabic style. Original Moorish buildings are the Patio del Yeso in the Alcázar, the city walls, in 1247, the Christian King Ferdinand III of Castile and Leon began the conquest of Andalusia. The decisive action took place in May 1248 when Ramon Bonifaz sailed up the Guadalquivir, the city surrendered on 23 November 1248. The citys development continued after the Castilian conquest in 1248, Public buildings constructed including churches, many of which were built in the Mudéjar style, and the Seville Cathedral, built during the 15th century with Gothic architecture

6.
Catalan language
–
Catalan is a Romance language derived from Vulgar Latin and named after the medieval Principality of Catalonia, in northeastern modern Spain and adjoining parts of France. It is the national and only language of Andorra, and a co-official language of the Spanish autonomous communities of Catalonia, the Balearic Islands. It also has status in the commune of Alghero, situated on the northwestern coast of the island of Sardinia. All these territories are often called Catalan Countries. 4% with Catalan and 47. 5% only Spanish, in order to integrate newcomers, the Generalitat de Catalunya spends part of its annual budget on the promotion of the use of Catalan in Catalonia and in other territories. Catalan evolved from Vulgar Latin in the Middle Ages around the eastern Pyrenees, during the Low Middle Ages it saw a golden age as the literary and dominant language of the Crown of Aragon, and was widely used all over the Mediterranean. The union of Aragon with the territories of Spain in 1479 marked the start of the decline of the language. In 1659 Spain ceded Northern Catalonia to France, and Catalan was banned in both states in the early 18th century, 19th-century Spain saw a Catalan literary revival, which culminated in the 1913 orthographic standardization, and the official status of the language during the Second Spanish Republic. However, the Francoist dictatorship banned the use of Catalan in schools and in the public administration, there is no parallel in Europe for such a large, bilingual, non-state speech community. Catalan dialects are relatively uniform, and are mutually intelligible and they are divided into two blocks, Eastern and Western, differing mostly in pronunciation. The terms Catalan and Valencian are two varieties of the same language, there are two institutions regulating the two standard varieties, the Institute of Catalan Studies in Catalonia and the Valencian Academy of the Language in the Valencian Community. Catalan shares many traits with its neighboring Romance languages, thus, the similarities are naturally most notable with eastern Occitan. Nouns have two genders, and two numbers, pronouns additionally can have a neuter gender, and some are also inflected for case and politeness, and can be combined in very complex ways. Verbs are split in several paradigms and are inflected for person, number, tense, aspect, mood, in terms of pronunciation, Catalan has many words ending in a wide variety of consonants and some consonant clusters, in contrast with many other Romance languages. The word Catalan derives from the territory of Catalonia, itself of disputed etymology, in English, the term referring to a person first appears in the mid 14th century as Catelaner, followed in the 15th century as Catellain. It is attested a language name since at least 1652, Catalan can be pronounced as /ˈkætəlæn/, /kætəˈlæn/ or /ˈkætələn/. The endonym is pronounced /kə. təˈɫa/ in the Eastern Catalan dialects, in the Valencian Community, the term valencià is frequently used instead. The names Catalan and Valencian are two names for the same language, see also status of Valencian below. By the 9th century, Catalan had evolved from Vulgar Latin on both sides of the end of the Pyrenees, as well as the territories of the Roman province of Hispania Tarraconensis to the south

7.
World's fair
–
A worlds fair, world fair, world exposition, or universal exposition is a large international exhibition designed to showcase achievements of nations. These exhibitions vary in character and are held in varying parts of the world, the next world Expo is Expo 2020 and is to be held in Dubai, UAE. Since the 1928 Convention Relating to International Exhibitions came into force, bIE-approved fairs are of three types, universal, specialized and horticultural. They usually last from three weeks to six months, Worlds fairs originated in the French tradition of national exhibitions, a tradition that culminated with the French Industrial Exposition of 1844 held in Paris. This fair was followed by other exhibitions in continental Europe. The best-known first World Expo was held in The Crystal Palace in Hyde Park, London, United Kingdom, in 1851, under the title Great Exhibition of the Works of Industry of All Nations. The Great Exhibition, as it is called, was an idea of Prince Albert, Queen Victorias husband. It influenced the development of aspects of society, including art-and-design education, international trade and relations. This expo was the most obvious precedent for the international exhibitions, later called worlds fairs. Since their inception in 1851, the character of world expositions has evolved, three eras can be distinguished, the era of industrialization, the era of cultural exchange, and the era of nation branding. The first era could be called the era of industrialization and covered, roughly, in these days, world expositions were especially focused on trade, and were famous for the display of technological inventions and advancements. World expositions were the platforms where the state-of-the-art in science and technology from around the world were brought together, inventions such as the telephone were first presented during this era. An important part of the image of worlds fairs stems from this first era, the 1939–40 New York Worlds Fair diverged from the original focus of the worlds fair expositions. From then on, worlds fairs adopted specific cultural themes, they forecasted a future for society. Technological innovations were no longer the primary exhibits at fairs, the fairs encouraged effective intercultural communication for the exchange of innovation. The 1967 International and Universal Exposition in Montreal was promoted under the name Expo 67, event organizers retired the term worlds fair in favor of expo. From Expo 88 in Brisbane onwards, countries started to use world expositions more widely, finland, Japan, Canada, France and Spain are cases in point. A large study by Tjaco Walvis called Expo 2000 Hanover in Numbers showed that improving national image was the primary goal for 73% of the countries at Expo 2000

8.
1888 Barcelona Universal Exposition
–
The 1888 Barcelona Universal Exposition was Spains first International Worlds Fair and ran from May 20 to December 9,1888. It was also the first of the two held in Barcelona, eugenio Serrano de Casanova tried to launch an exposition in 1886, and when that failed, the Mayor of Barcelona, Francesc Rius i Taulet, took over the planning of the project. The fair was hosted on the reconstructed 115-acre site of the main public park. More than 2 million people from Spain, the rest of Europe, and other points of embarkation visited the exhibition. The fair was opened by Alfonso XIII of Spain and Maria Christina of Austria, twenty-seven countries participated, including China, Japan and the United States. The piano manufacturer Erard sponsored a series of 20 concerts featuring Isaac Albéniz, another product of the World Fair is the Modernista or Neo-Mudéjar Arc de Triomf, the Fairs former gateway, presiding over Passeig de Lluís Companys. Other architectural details in the city bear witness to the passage of the World Fair as well, the Columbus Monument, a 60 m tall monument to Christopher Columbus, was built for the exposition on the site where Columbus returned to Europe after his first voyage to the Americas. It was erected at the end of Les Rambles and remains standing today

9.
Spanish peseta
–
The peseta was the currency of Spain between 1869 and 2002. Along with the French franc, it was also a de facto currency used in Andorra, the name of the currency comes from pesseta, the diminutive form of the word peça, which is a Catalan word that means piece or fraction. The first non-official coins which contained the word peseta were made in 1808 in Barcelona, traditionally, there was never a single symbol or special character for the Spanish peseta. Common abbreviations were Pt, Pta, Pts and Ptas, sometimes using superior letters, common earlier Spanish models of mechanical typewriters had the expression Pts on a single type head, as a shorthand intended to fill a single type space in tables instead of three. Later, Spanish models of IBM electric typewriters also included the type in its repertoire. This original character set chart later became the MS-DOS code page 437, some spreadsheet software for PC under MS-DOS, as Lotus 1-2-3, employed this character as the peseta symbol in their Spanish editions. Subsequent international MS-DOS code pages, like code page 850 and others, in order to guarantee the interchange with previous encodings such as code page 437, the international standard Unicode includes this character as U+20A7 PESETA SIGN in its Currency Symbols block. Other than that, the use of the peseta symbol standalone is extremely rare, in the version 1.0 of Unicode the character ₧ U+20A7 PESETA SIGN had two reference glyphs, a Pts ligature glyph as in IBM code page 437 and an erroneous P with stroke. The peseta was subdivided into 100 céntimos or, informally,4 reales, the last coin of any value under one peseta was a 50-céntimo coin issued in 1980 to celebrate Spains hosting of the 1982 FIFA World Cup. The last 25-céntimo coin was dated 1959, the ten céntimos also dated 1959, the 1-céntimo coin was last minted in 1913 and featured King Alfonso XIII. The 1⁄2-céntimo coin was last minted in 1868 and featured Queen Isabel II, the peseta was introduced in 1869 after Spain joined the Latin Monetary Union in 1868. The Spanish Law of June 26,1864 decreed that in preparation for joining the Latin Monetary Union, the peseta replaced the escudo at a rate of 5 pesetas =1 peso duro =2 escudos. The peseta was equal to 4.5 grams of silver, or 0.290322 grams of gold, from 1873, only the gold standard applied. The political turbulence of the twentieth century caused the monetary union to break up. In 1959, Spain became part of the Bretton Woods System, in 1967, the peseta followed the devaluation of the British pound, maintaining the exchange rate of 168 pesetas =1 pound and establishing a new rate of 70 pesetas =1 U. S. dollar. The peseta was replaced by the euro in 2002, following the establishment of the euro in 1999, the exchange rate was 1 euro =166.386 pesetas. At least 1252–1284 there was a 1 obolo brass coin – plated with silver – stamped, colnect shows even a first 1 Maravedí-coin made of copper having been edited since 1454. The bigger silver coin 1 Real came out 1786, the latter two currency units were used until the Peseta came in 1869

10.
Parc de la Ciutadella
–
The Parc de la Ciutadella is a park on the northeastern edge of Ciutat Vella, Barcelona, Catalonia. For decades following its creation in the century, this park was the citys only green space. The 70-acre grounds include the city zoo, the Parliament of Catalonia, a lake, museums. In 1714, during the War of the Spanish Succession, Barcelona was laid siege for 13 months by the army of Philip V of Spain, a substantial part of the district it was constructed in was destroyed to obtain the necessary space, leaving its inhabitants homeless. The fortress was characterized by having five corners, which gave the citadel defensive power and it included enough buildings to house 8,000 people. Three decades later a quarter was rebuilt around the fortress named Barceloneta, in 1841 the citys authorities decided to destroy the fortress, which was hated by Barcelonas citizens. Yet two years later, in 1843, under the regime of Maria Cristina, the citadel was restored, the chapel, the Governors palace, and the arsenal remain, with the rest of the site being turned into the contemporary park by the architect Josep Fontsére in 1872. This marked the conclusion of the old provincial and unprogressive Barcelona, from that point until 1892, half of the parks layout was enhanced again in order to obtain sufficient space for the zoo. The parks bandstand, Glorieta de la Transsexual Sònia, is dedicated to a transsexual, Sonia Rescalvo Zafra, the Cascada is located at the northern corner of the park opposite to the lake. It was erected by Josep Fontsére and to an extent by Antoni Gaudí. Fontsére aimed to make it bear resemblance to the Trevi Fountain of Rome. Two enormous pincers of gigantic crabs serve as stairs to access a small podium located in the centre of the monument, in front of it a sculpture of Venus standing on an open clam was placed. The whole cascade is divided in two levels, the zoo of Barcelona is located in the park of the ciutadella due to the availability of a few buildings which were left empty after the Universal Exposition of 1888. It was inaugurated in 1892, during the day of the Mercé, the first animals were donated by Lluís Martí i Codolar to the municipality of Barcelona, which gratefully approved of their accommodation in the zoo. Nowadays, with one of the most substantial collections of animals in Europe, the zoo affirms that their aim is to conserve, investigate, from 1966 to 2003 the zoo was home to the famous albino gorilla Snowflake, who attracted many international tourists and locals. More than 50,000 children visit the zoo on an annual basis, the Museum of Natural Science, sited in the park, comprises a museum of zoology and a museum of geology. The museum of zoology was constructed for the Exposición Universal de Barcelona by the architect Lluís Doménech i Montaner to serve as an exhibition, most of the building is constructed of red brick. The most popular displays are the skeleton of a whale and exhibits dedicated for smaller children

11.
Noucentisme
–
The same year two essential works for Noucentisme were published, Els fruits saborosos by poet Josep Carner and La nacionalitat catalana by the Conservative politician Enric Prat de la Riba. Despite certain similarities between the movements, it opposed Modernisme, the movement, and the radical and individualist views. Noucentisme glorified order and what they saw as the spirit of the 20th century, the novel was largely excluded in favour of poetry, which was more useful to convey the spirit of the style. The style as a whole shows a predilection for a Classicist approach, Europeanism, Modernism, artists and politicians were close collaborators. Its main defining features in poetry are a return to Apollonian classicism, a refined and accurate language, objectivity and rejection of abrupt feelings. The Vienna Secession was a key influence to their ideal of beauty in architecture, the architect Rafael Masó i Valentí, works mainly in Girona and its regions, is one of the clearest promoters of nineteenth-century architecture. The architects of the first period, as Josep Maria Pericas mix and nineteenth-century modernist elements, painters and sculptors of the Noucentista period are Joaquim Sunyer, Joaquim Torres Garcia and Manolo Hugué. Catalonia was the most industrialised and therefore wealthiest region of Spain at the time, a change of attitude towards politics among members of Catalan bourgeoisie helped develop the basis of political pragmatism and idealism in Noucentisme. Following the disagreements that took place among Catalan politicians, intellectuals and, most prominently, the class of Barcelona. The Catalan nationalist tradition in the 19th century had relied on protectionist views held by both the bourgeoisie and the working classes and these new Noucentista views had partly assimilated and inherited these ideals, but were in favour of more modern values that represented their faith in idealist changes. A majority of members of the bourgeoisie of the country supported the Regionalist League. Arbitrarism was a philosophy naming literary creation a symbol of human will conquering reality and their particular will could be summed up as an ideal Catalonia that would come to replace the real Catalonia through the remaining two precepts, Civility and Classicism. Their interest in an Apollonian Classicism was not only of a nature, they desired formal perfection, harmony. Mediterraneity came to be seen as a synthesis of the Noucentista ideal and their intervention in practice was carried out following three goals, A reform of the country based on their ideology. Orthographic reform of the Catalan language, editorial support and cultural infrastructures for the Catalan language. They chose Barcelona as the centre of all these institutional reforms. They also promoted the creation of institutions in charge of the cultural and official development of Catalan, the Bernat Metge Foundation translated Greek and Latin language classics into Catalan and the Institut dEstudis Catalans became a regulator body for Catalan. Lliga Regionalista – large Conservative party with ties to Noucentisme

12.
Modernisme
–
Modernisme, also known as Catalan modernism, is the historiographic denomination given to an art and literature movement. Modernisme was also a literary movement, although it was part of a general trend that emerged in Europe around the turn of the 20th century, in Catalonia the style acquired its own unique personality. Notable painters include Santiago Rusiñol, Ramon Casas, Isidre Nonell, Hermen Anglada Camarasa, Joaquim Mir, Eliseu Meifrèn, Lluïsa Vidal, notable sculptors are Josep Llimona, Eusebi Arnau and Miquel Blai. Such ideas can be seen in some of Rusiñols plays against the Spanish army, Modernistes largely rejected bourgeois values, which they thought to be the opposite of art. It is a search for a style for Catalonia drawing on Medieval. The textile factory which is now home to the Catalan national technical museum MNACTEC is an outstanding example, early 20th century architecture in Valencia was strongly influenced by Modernisme. The Central Market in Valencia, one of the largest in Europe, covers more than 8,000 square metres, over two floors, with a predominantly eclectic pre-Modernist style. Its unusual roof comprises original domes and sloping sections at different heights, while the interior seems to be lined in a range of such as iron, wood, ceramics. The beauty of the building stands out especially on account of the light enters through the roof at various points. The North Station is the railway station in Valencia, Spain located in the city centre next to the Plaza de Toros de Valencia. It was declared Good of Cultural Heritage in 1987, the Mercado de Colón is an old market located in the center of the city of Valencia, Spain. Its building was designed by architect Francisco Mora Berenguer between 1914 and 1916 and this is a clear example of Modernist architecture of the early century. It was declared a national monument and it impresses with its extraordinary facade and lavish decor. Antoni Gaudí is the architect of this movement. Other influential architects were Lluís Domènech i Montaner and Josep Puig i Cadafalch, in literature, Modernisme stood out the most in narrative. Those writers often, though not always, show influences from Russian literature of the 19th Century, in poetry, Modernisme closely follows Symbolist and Parnassian poetry, with poets frequently crossing the line between both tendencies or alternating between them. Another important strain of Modernista poetry is Joan Maragalls Paraula viva school, although poetry was very popular with the Modernistes and there were lots of poets involved in the movement, Maragall is the only Modernista poet who is still widely read today. Modernista theatre was important, as it smashed the insubstantial regional plays that were popular in 19th century Catalonia

13.
Glasgow School
–
The Glasgow School was a circle of influential artists and designers that began to coalesce in Glasgow, Scotland in the 1870s, and flourished from the 1890s to around 1910. Representative groups included The Four, the Glasgow Girls and the Glasgow Boys and they were responsible for creating the distinctive Glasgow Style. Among the most prominent definers of the Glasgow School collective were The Four and they were the painter and glass artist Margaret MacDonald, acclaimed architect Charles Rennie Mackintosh, MacDonalds sister Frances and Herbert MacNair. The Four, otherwise known as the Spook School, ultimately made a significant impact on the definition of Art Nouveau, the name, Spook School, or Spooky or Ghoul School, was originally a derisive epithet given to their work which distorted and conventionalized human. This is sometimes attributed to the influential and progressive head of the art school, Fra Newbery, Women benefited from the new Glasgow Society of Lady Artists which offered a place for women artists to meet and also had exhibition space. In addition, many art students and staff were involved in womens suffrage. Students took turns between classes stitching up banners for the movement, the name Glasgow Girls emerged much later. In the 1960s there was an attempt to give due attention to the work of the women artists to balance the plentiful discussion of the Glasgow Boys. It is thought that the head of the Scottish Arts Council William Buchanan was the first to use the name in the catalogue for a 1968 Glasgow Boys exhibition. This invention has been called a reference to the equivalent men’s grouping. The term Glasgow Girls was emphasised by a major exhibition Glasgow Girls, Women in Art and their subject matter featured rural, prosaic scenes from in and around Glasgow. Their colorful depictions attempted to capture the many facets of the character of Scotland, the Glasgow Boys consisted of several men, most of whom were trained in, or had strong ties to the city of Glasgow. These men were brought together by a passion for realism and naturalism, along with this passion for naturalism, they shared a marked distaste for the Edinburgh oriented Scottish art establishment, which they viewed as oppressive. Driven and motivated by these ideals they embraced change, created masterpieces, among the painters associated with the group were Joseph Crawhall, Thomas Millie Dow, James Guthrie, George Henry, E. A. Hornel, James Whitelaw Hamilton and E. A. Walton. James Paterson and William York Macgregor were leading figures in the group and this is one of the reasons that the group often chose to work outdoors. Working outdoors allowed them to produce paintings that were as true to nature as possible and they painted real people in real places. The production of paintings was new to this time period. Similarly, the pieces created a sense of movement, an accurate depiction of light and shade

14.
Art Nouveau
–
Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions

15.
Catalonia
–
Catalonia is an autonomous community of Spain, located on the northeastern extremity of the Iberian Peninsula. It is designated as a nationality by its Statute of Autonomy, Catalonia consists of four provinces, Barcelona, Girona, Lleida, and Tarragona. The capital and largest city is Barcelona, the second-most populated municipality in Spain, Catalonia comprises most of the territory of the former Principality of Catalonia. It is bordered by France and Andorra to the north, the Mediterranean Sea to the east, the official languages are Catalan, Spanish, and the Aranese dialect of Occitan. The eastern counties of these marches were united under the rule of the Frankish vassal the Count of Barcelona, in the later Middle Ages Catalan literature flourished. Between 1469 and 1516, the King of Aragon and the Queen of Castile married and ruled their kingdoms together, retaining all their distinct institutions, Courts, and constitutions. During the Franco-Spanish War, Catalonia revolted against a large and burdensome presence of the Royal army in its territory, within a brief period France took full control of Catalonia, at a high economic cost for Catalonia, until it was largely reconquered by the Spanish army. In the nineteenth century, Catalonia was severely affected by the Napoleonic, in the second half of the century Catalonia experienced industrialisation. As wealth from the industrial expansion grew, Catalonia saw a cultural renaissance coupled with incipient nationalism while several workers movements appeared. In 1914, the four Catalan provinces formed a Commonwealth, and with the return of democracy during the Second Spanish Republic, after the Spanish Civil War, the Francoist dictatorship enacted repressive measures, abolishing Catalan institutions and banning the official use of the Catalan language again. Since the Spanish transition to democracy, Catalonia has regained some political and cultural autonomy and is now one of the most economically dynamic communities of Spain, the origin of the name Catalunya is subject to diverse interpretations because of a lack of evidence. During the Middle Ages, Byzantine chroniclers claimed that Catalania derives from the medley of Goths with Alans. Other less plausible theories suggest, Catalunya derives from the land of castles, having evolved from the term castlà or castlan. This theory therefore suggests that the names Catalunya and Castile have a common root, the source is of Celtic origin, meaning chiefs of battle. Although the area is not known to have been occupied by Celts, the Lacetani, an Iberian tribe that lived in the area and whose name, due to the Roman influence, could have evolved by metathesis to Katelans and then Catalans. In English, Catalonia is pronounced /kætəˈloʊniə/, the native name, Catalunya, is pronounced in Central Catalan, the most widely spoken variety whose pronunciation is considered standard. The Spanish name is Cataluña, and the Aranese name is Catalonha, the first known human settlements in what is now Catalonia were at the beginning of the Middle Palaeolithic. From the next era, the Epipaleolithic or Mesolithic, important remains survive

16.
Avant-garde
–
The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders

17.
Rationalism (architecture)
–
In architecture, rationalism is an architectural current which mostly developed from Italy in the 1920s-1930s. Vitruvius had claimed in his work De Architectura that architecture is a science that can be comprehended rationally and this formulation was taken up and further developed in the architectural treatises of the Renaissance. Progressive art theory of the 18th-century opposed the Baroque use of illusionism with the beauty of truth. Twentieth-century rationalism derived less from a special, unified theoretical work than from a belief that the most varied problems posed by the real world could be resolved by reason. In that respect it represented a reaction to historicism and a contrast to Art Nouveau, rational architects, following the philosophy of René Descartes emphasized geometric forms and ideal proportions. The French Louis XVI style emerged in the century with its roots in the waning interest of the Baroque period. Towards the end of the 18th century, Jean-Nicolas-Louis Durand, a teacher at the influential École Polytechnique in Paris at the time, argued that architecture in its entirety was based in science. Other architectural theorists of the period who advanced rationalist ideas include Abbé Jean-Louis de Cordemoy, the architecture of Claude Nicholas Ledoux and Étienne-Louis Boullée typify Enlightenment rationalism, with their use of pure geometric forms, including spheres, squares, and cylinders. The term structural rationalism most often refers to a 19th-century French movement, usually associated with the theorists Eugène Viollet-le-Duc, Viollet-le-Duc rejected the concept of an ideal architecture and instead saw architecture as a rational construction approach defined by the materials and purpose of the structure. The architect Eugène Train was one of the most important practitioners of this school, particularly with his educational buildings such as the Collège Chaptal, architects such as Henri Labrouste and Auguste Perret incorporated the virtues of structural rationalism throughout the 19th century in their buildings. By the early 20th century, architects such as Hendrik Petrus Berlage were exploring the idea that structure itself could create space without the need for decoration and this gave rise to modernism, which further explored this concept. More specifically, the Soviet Modernist group ASNOVA were known as the Rationalists, rational Architecture thrived in Italy from the 1920s to the 1940s. One of the first rationalist buildings was the Palazzo Gualino in Turin, built for the financier Riccardo Gualino by the architects Gino Levi-Montalcini and Giuseppe Pagano. Gruppo 7 mounted three exhibitions between 1926 and 1931, and the movement constituted itself as a body, the Movimento Italiano per lArchitettura Razionale. Pagano became editor of Casabella in 1933 together with Edoardo Persico, Pagano and Persico featured the work of the rationalists in the magazine, and its editorials urged the Italian state to adopt rationalism as its official style. The EUR features monumental buildings, many of which evocative of ancient Roman architecture, in the late 1960s, a new rationalist movement emerged in architecture, claiming inspiration from both the Enlightenment and early-20th-century rationalists. Like the earlier rationalists, the movement, known as the Tendenza, was centered in Italy, practitioners include Carlo Aymonino, Aldo Rossi, and Giorgio Grassi. The Italian design magazine Casabella featured the work of architects and theorists

18.
Bauhaus
–
The Bauhaus was founded by Walter Gropius in Weimar. Nonetheless, it was founded with the idea of creating a work of art in which all arts, including architecture. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, the Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Although the school was closed, the continued to spread its idealistic precepts as they left Germany. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated, Gropius did not share these radical views, thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. In its first seven years, the Werkbund came to be regarded as the body on questions of design in Germany. The entire movement of German architectural modernism was known as Neues Bauen, beginning in June 1907, Peter Behrens pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. Behrens was a member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity, beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a minimal dwelling written into the new Weimar Constitution, ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, the Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization, the two schools were the first to train artist-designers in a modern manner. Vkhutemas was a school than the Bauhaus, but it was less publicised outside the Soviet Union. With the internationalism of modern architecture and design, there were exchanges between the Vkhutemas and the Bauhaus. In addition, El Lissitzkys book Russia, an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906

19.
Ludwig Mies van der Rohe
–
Ludwig Mies van der Rohe was a German-American architect. He is commonly referred to and was addressed as Mies, his surname, along with Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is widely regarded as one of the pioneers of modernist architecture. Mies, like many of his post-World War I contemporaries, sought to establish a new style that could represent modern times just as Classical. He created an influential twentieth-century architectural style, stated with clarity and simplicity. His mature buildings made use of materials such as industrial steel. He strove toward an architecture with a framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings skin and bones architecture and he sought an objective approach that would guide the creative process of architectural design, but he was always concerned with expressing the spirit of the modern era. He is often associated with his quotation of the aphorisms, less is more, Mies was born March 27,1886 in Aachen, Germany. He worked in his fathers stone carving shop and at several design firms before he moved to Berlin. Mies served as manager of the Embassy of the German Empire in Saint Petersburg under Behrens. His talent was recognized and he soon began independent commissions. He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles and he rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. In 1913, Mies married Adele Auguste Bruhn, the daughter of a wealthy industrialist, during his military service in 1917, Mies fathered a son out of wedlock. In 1925 Mies began a relationship with designer Lilly Reich that ended when he moved to the United States, from 1940 until his death, artist Lora Marx was his primary companion. Mies carried on a relationship with sculptor and art collector Mary Callery for whom he designed an artists studio in Huntington, Long Island. He also was rumored to have a relationship with Edith Farnsworth. Mariannes son Dirk Lohan studied under, and later worked for, after World War I, Mies began, while still designing traditional neoclassical homes, a parallel experimental effort. He joined his avant-garde peers in the search for a new style that would be suitable for the modern industrial age

20.
Museu Nacional d'Art de Catalunya
–
The Museu Nacional dArt de Catalunya, abbreviated as MNAC, is the national museum of Catalan visual art located in Barcelona, Catalonia, Spain. The Museum is housed in the Palau Nacional, a huge, the Palau Nacional, which has housed the Museu dArt de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, the Museu Nacional dArt de Catalunya was officially inaugurated on 16 December 2004. It is one of the largest museums in Spain, the Palau Nacional, which has housed the Museu dArt de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, the Museu Nacional d’Art de Catalunya was officially inaugurated on 16 December 2004. Since 2004, the Palau Nacional has once more housed several magnificent art collections, mostly by Catalan art and this heritage is completed by the Gabinet Numismàtic de Catalunya, the Gabinet de Dibuixos i Gravats and the Library. It is one of the most important and outstanding collections in the Museum, indeed, the Museu Nacional Romanesque Collection is unmatched by that of any other museum in the world. Years later, the news emerged that a group of foreign financiers and this style is illustrated in such excellent works as the mural paintings from Sant Quirze de Pedret, Santa Maria dÀneu and Sant Pere del Burgal. The Romanesque section ends with the paintings from San Pedro de Arlanza, the latter features one of the most magnificent pictorial series in this new style, called 1200 art, which swept across Europe in the 13th century. The piece has been conserved in the museum since it was damaged by fire in 1936. Finally, the Romanesque section also features an important collection of enamels, mostly produced in Limoges and these include the renowned Mural paintings of the Conquest of Majorca, which preside over the first Gothic room. This same room also contains works on profane themes or from secular sites. Sculpture during this period from the century, was also influenced by Italian models. The collection includes works that may be attributed to some of the most outstanding sculptors of the time, such as Jaume Cascalls, Catalan sculpture in the late-14th century and the first half of the 15th is represented by two misericords from Barcelona Cathedral carved stalls by Pere Sanglada. Valencia is represented in the Museu Nacional by such outstanding artists as Gonçal Peris, the Gothic collection also features examples of painting from Aragon, another region that enjoyed considerable influence at this time. In this age, the Ecce Homo, Luis de Morales, returning to Catalonia, in his image of St Cajetan, the sculptor Andreu Sala reveals himself to be a worthy follower of the Italian genius Bernini. Two later donations made important contributions to more general vision, the Cambó Bequest. The Cambó Bequest forms a collection of paintings embraces European painting history from the 14th to the early 20th century

21.
Poble Espanyol
–
The Poble Espanyol is an open-air architectural museum in Barcelona, Catalonia, Spain, approximately 400 metres away from the Fountains of Montjuïc. Built for the 1929 Barcelona International Exposition, the museum consists of 117 full-scale buildings and it also contains a theater, restaurants, artisan workshops and a museum of contemporary art. The museum was built for the 1929 Barcelona International Exposition as an exhibit of the architecture and culture of Spain. The idea was promoted by the Catalan architect Puig Cadafalch and the project was realized by architects Francesc Folguera and Ramon Reventós, art critic Miquel Utrillo and painter Xavier Nogués. The four professionals visited over 600,000 sites in Spain to collect the to bring together the main characteristics of the peoples of Spain, the autonomous communities La Rioja and the Canary Islands are not represented. The first is not present because it wasnt a separate autonomous region when the museum was designed, the Canary Islands are not represented because the four designers could not visit them for economic reasons. The recreated village still contains the streets, squares and facades of the different areas of Spain, the village hosts many different events including gastronomic festivals, concerts in summer, Flamenco shows, private events such as weddings, and childrens activities. The Poble Espanyol exhibits more than 30 artisans who work within the village making blown glass, leather, ceramics, jewelry, masks, baskets. They create handmade items which are sold to the visitors, the Poble Espanyol also contains rides, stores with gourmet products, and restaurants or bars with cuisine from the different regions of Spain. The museum Fran Daurel is situated within the Poble Espanyol, the museum holds paintings, sculptures, tapestries, drawings and ceramics, and a sculpture garden, with 41 large sculptures. The works by Picasso include ceramics from the 1950s and 1960s, the Poble Espanyol has a theater that regularly organizes entertainment for children, theater, dance, music, clowns or puppets. The Barcelona School of Theatre also performs at this theater, wimdu City Guides, No.2 Barcelona, Barcelona Travel Guide. Official website El Poble Espanyol de Barcelona

22.
Cinderella stamp
–
In philately, a cinderella stamp is virtually anything resembling a postage stamp, but not issued for postal purposes by a government postal administration. The term also excludes imprinted stamps on postal stationery, as cinderella stamps are defined by what they are not, there are many different types and the term is usually construed fairly loosely. Revenue stamps are sometime considered cinderellas, but as they are issued by an official government agency. Some telegraph, railway and other stamps may also be issued by government agencies, local stamps have a long history and began to be issued soon after the invention of the postage stamp. Zemstvo stamps were issued in areas of the Russian Empire. Many local stamps performed a genuine postal function where the national post was lacking, other locals, however, amount to nothing more than colourful labels. In the United Kingdom many local carriage labels have been issued by offshore islands, others were produced simply to sell to collectors and tourists. Usually they had to be placed on the back of the envelope, islands for which such labels have been issued include the Summer Isles, Lundy and the Calf of Man. Hotel Stamps may also be regarded as a form of local stamp, Stamps with encouraging slogans have been attached to letters for prisoners of war, or troops serving abroad. The Indian National Army produced ten stamps as part of their campaign, from 1951 to 1966, UNESCO issued a series of 41 gift stamps. Considered to be cinderellas, they were produced to raise money for the organization, the series is unusual in being an international cooperative effort. Most are readily available from specialized dealers, colin Ward, along with Harper, published a book in 1997 called Stamps, Designs For Anarchist Postage Stamps, containing an essay by Ward on the subject of anarchists and postage stamps. Fund-raising stamps with anti-state messages have appeared within labor unions such as the ones printed by the Confederación Nacional del Trabajo, current officially licensed Heritage railway-operated services include the Ffestiniog Railway Letter Service. United Kingdom railway letter stamps almost always specify a fee for the use of this official, sometimes a fictitious country or denomination may be present. While many cinderella stamps are common, others were produced in limited numbers, are little-known. Revenue stamps are a competitive category within the FIP and have their own commissioner. There are cinderella stamp clubs in the United Kingdom and in Australia and its not a stamp, but it looks a lot like one. Cinderellas add more fun to your collection, archived from the original on 2013-07-07

23.
Funicular
–
Funiculars of one sort or another have existed for hundreds of years and continue to be used for moving both passengers and goods. Its name derives from the latin, funiculus, diminutive of funis, the basic idea of funicular operation is that two cars are always attached to each other by a cable, which runs through a pulley at the top of the slope. Counterbalancing of the two cars, with one going up and one going down, minimizes the energy needed to lift the car going up, winching is normally done by an electric drive that turns the pulley. Sheave wheels guide the cable to and from the drive mechanism, early funiculars used two parallel straight tracks, four rails, with separate station platforms for each vehicle. The tracks are laid with sufficient space between them for the two cars to pass at the midpoint, the wheels of the cars are usually single-flanged, as on standard railway vehicles. Examples of this type of track layout are the Duquesne Incline in Pittsburgh, Pennsylvania, layouts that require less width have been developed, with only two or three rails for the most part of the slope and four rails only at the passing section. In layouts using three rails, the rail is shared by both cars. The three-rail layout is wider than the layout, but the passing section is simpler to build. If a rack for braking is used, that rack can be mounted higher in a three-rail layout, some four-rail funiculars have the upper and lower sections interlaced and a single platform at each station. The Hill Train at Legoland, Windsor, is an example of this configuration, until the end of the 1870s, the four-rail parallel-track funicular was the normal configuration. Carl Roman Abt developed the Abt Switch allowing the two-rail layout, in the United States, the first funicular to use a two-rail layout was the Telegraph Hill Railroad in San Francisco, which was in operation from 1884 until 1886. The Mount Lowe Railway in Altadena, California, was the first mountain railway in the United States to use the three-rail layout, three- and two-rail layouts considerably reduced the space required for building a funicular, reducing grading costs on mountain slopes and property costs for urban funiculars. These layouts enabled a funicular boom in the half of the 19th century. The cars can be attached to a cable running through a pulley at the bottom of the incline in case the gravity force acting on the vehicles is too low to operate them on the slope. One of the pulleys must be designed as a wheel to avoid slack in the ropes. In this case, the winching can also be done at the end of the incline. Funiculars used in mines were sometimes unpowered gravity planes, also known as self-acting inclines or brake inclines, the weight of descending loaded wagons was used to pull the empty mine wagons. A few funiculars have been using water tanks under the floor of each car that are filled or emptied until just sufficient imbalance is achieved to allow movement

24.
Aerial tramway
–
An aerial tramway, sky tram, cable car, ropeway or aerial tram is a type of aerial lift which uses one or two stationary ropes for support while a third moving rope provides propulsion. With this form of lift, the grip of an aerial tramway cabin is fixed onto the propulsion rope, as such, careful phrasing is necessary to prevent confusion. It is also called a ropeway or even incorrectly referred to as a gondola lift. A gondola lift has cabins suspended from a continuously circulating cable whereas aerial trams simply shuttle back, in Japan, the two are considered as the same category of vehicle and called ropeway, while the term cable car means Cable car and funicular. An aerial railway where the vehicles are suspended from a track is known as a suspension railway. An aerial tramway consists of one or two fixed cables, one loop of cable, and a number of passenger cabins, the fixed cables provide support for the cabins while the haulage rope, by means of a grip, is solidly connected to the truck. An electric motor drives the haulage rope which provides propulsion, Aerial tramways differ from gondola lifts in that gondola lifts are considered continuous systems. A similar system of cables is used in a funicular railway, the two passenger cabins, which carry from 4 to over 150 people, are situated at opposite ends of the loops of cable. Thus, while one is coming up, the other is going down the mountain, some aerial trams have only one cabin, which lends itself better for systems with small elevation changes along the cable run. The first operational aerial tram was built in 1644 by Adam Wiebe in Gdańsk and it was moved by horses and used to move soil over the river to build defences. It is called the first known cable lift in European history and it is not known how long this lift was used. In any case, it would be another 230 years before Germany would get the cable lift. Other mining systems were developed in the 1860s by Hodgson, Hallidie went on to perfect a line of mining and people tramways after 1867 in California and Nevada. Tramways are sometimes used in regions to carry ore from a mine located high on the mountain to an ore mill located at a lower elevation. Ore tramways were common in the early 20th century at the mines in North and South America, one can still be seen in the San Juan Mountains of the US state of Colorado. Over one thousand mining tramways were built around the world—Spitsbergen, Russia, Alaska, Argentina, New Zealand and this experience was replicated with the use of tramways in the First World War particularly on the Isonzo Front in Italy. The German firm of Bleichert built hundreds of freight and military tramways, strangely, Bleichert even built the first tourist tramway at Bolzano/Bozen, in then Tyrolian Austria in 1913. Other firms entered the mining tramway business- Otto, Leschen, Breco Ropeways Ltd, ceretti and Tanfani, and Riblet for instance

25.
Baroque architecture
–
It was characterized by new explorations of form, light and shadow, and dramatic intensity. Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, the new style manifested itself in particular in the context of the new religious orders, like the Theatines and the Jesuits who aimed to improve popular piety. The architecture of the High Roman Baroque can be assigned to the reigns of Urban VIII, Innocent X and Alexander VII. Dissemination of Baroque architecture to the south of Italy resulted in variations such as Sicilian Baroque architecture or that of Naples. To the north, the Theatine architect Camillo-Guarino Guarini, Bernardo Vittone and Sicilian born Filippo Juvarra contributed Baroque buildings to the city of Turin and the Piedmont region. A synthesis of Bernini, Borromini and Cortona’s architecture can be seen in the late Baroque architecture of northern Europe which paved the way for the more decorative Rococo style. During the 17th century, Baroque architecture spread through Europe and Latin America, michelangelos late Roman buildings, particularly St. Peters Basilica, may be considered precursors to Baroque architecture. Colonialism required the development of centralized and powerful governments with Spain and France, the initial mismanagement of colonial wealth by the Spaniards bankrupted them in the 16th century, recovering only slowly in the following century. While this was good for the industries and the arts, the new wealth created an inflation. Rome was known just as much for its new sumptuous churches as for its vagabonds, one of the first Roman structures to break with the Mannerist conventions exemplified in the Gesù, was the church of Santa Susanna, designed by Carlo Maderno. The dynamic rhythm of columns and pilasters, central massing, there is an incipient playfulness with the rules of classic design, but it still maintains rigor. These concerns are more evident in his reworking of Santa Maria della Pace. Probably the most well known example of such an approach is Saint Peters Square, the piazza, designed by Gian Lorenzo Bernini, is formed principally by two colonnades of free standing columns centred on an Egyptian obelisk. Berninis own favourite design was his church of SantAndrea al Quirinale decorated with polychome marbles. His secular architecture included the Palazzo Barberini based on plans by Maderno, Berninis rival, the architect Francesco Borromini, produced designs that deviated dramatically from the regular compositions of the ancient world and Renaissance. His building plans were based on geometric figures, his architectural forms were unusual and inventive. Borrominis architectural spaces seem to expand and contract when needed, showing some affinity with the style of Michelangelo. A later work, the church of SantIvo alla Sapienza, displays the same playful inventiveness and antipathy to the flat surface, following the death of Bernini in 1680, Carlo Fontana emerged as the most influential architect working in Rome

26.
Santiago de Compostela
–
Santiago de Compostela, commonly known as Santiago, is the capital of the autonomous community of Galicia in northwestern Spain. The city has its origin in the shrine of Saint James the Great, now the cathedral, as destination of the Way of St. James. In 1985 the citys Old Town was designated a UNESCO World Heritage Site, Santiago is the local Galician evolution of Vulgar Latin Sanctus Iacobus Saint James. Other etymologies derive the name from Latin compositum, local Vulgar Latin Composita Tella, meaning ground, or simply from Latin compositella. Other sites in Galicia share this toponym, akin to Compostilla in the province of León, the cathedral borders the main plaza of the old and well-preserved city. Legend has it that the remains of the apostle James were brought to Galicia for burial, in 813, according to medieval legend, the light of a bright star guided a shepherd who was watching his flock at night to the burial site in Santiago de Compostela. The shepherd quickly reported his discovery to the bishop of Iria, the bishop declared that the remains were those of the apostle James and immediately notified King Alfonso II in Oviedo. To honour St. James, the cathedral was built on the spot where his remains were said to have been found, along the western side of the Praza do Obradoiro is the elegant 18th century Pazo de Raxoi, now the city hall. The Obradoiro façade of the cathedral, the best known, is depicted on the Spanish euro coins of 1 cent,2 cents, Santiago is the site of the University of Santiago de Compostela, established in the early 16th century. The main campus can be seen best from an alcove in the municipal park in the centre of the city. Within the old town there are many narrow winding streets full of historic buildings, the new town all around it has less character though some of the older parts of the new town have some big flats in them. Santiago de Compostela has a substantial nightlife, both in the new town and the old town, a mix of middle-aged residents and younger students maintain a lively presence until the early hours of the morning. Santiago gives its name to one of the four orders of Spain, Santiago, Calatrava, Alcántara. One of the most important economic centres in Galicia, Santiago is the seat for organisations like Association for Equal, under the Köppen climate classification, Santiago de Compostela has a temperate oceanic climate, with mild to warm and somewhat dry summers and mild, wet winters. The prevailing winds from the Atlantic and the surrounding mountains combine to give Santiago some of Spain’s highest rainfall, about 1,545 millimetres annually. The climate is mild, frosts are common only in December, January and February, with an average of just 8 days per year, while snow is rare, temperatures over 30 °C are exceptional. The population of the city in 2012 was 95,671 inhabitants, in 2010 there were 4,111 foreigners living in the city, representing 4. 3% of the total population. The main nationalities are Brazilians, Portuguese and Colombians, by language, according to 2008 data, 21% of the population always speak in Galician, 15% always speak in Spanish and the rest use both interchangeably

27.
Galicia (Spain)
–
Galicia is an autonomous community of Spain and historic nationality under Spanish law. It had a population of 2,718,525 in 2016 and has an area of 29,574 km2. Galicia has over 1,660 km of coastline, including its islands and islets, among them Cíes Islands, Ons, Sálvora, Cortegada. Galicia was incorporated into the Roman Empire at the end of the Cantabrian Wars in 19 BC, in 410, the Germanic Suebi established a kingdom with its capital in Braga, this kingdom was incorporated into that of the Visigoths in 585. The Governor also presided the Real Audiencia do Reino de Galicia, from the 16th century, the representation and voice of the kingdom was held by an assembly of deputies and representatives of the cities of the kingdom, the Cortes or Junta of the Kingdom of Galicia. This institution was forcibly discontinued in 1833 when the kingdom was divided into four provinces with no legal mutual links. During the 19th and 20th centuries, demand grew for self-government and this resulted in the Statute of Autonomy of 1936, soon frustrated by Francos coup detat and subsequent long dictatorship. After democracy was restored the legislature passed the Statute of Autonomy of 1981, approved in referendum and currently in force, the interior of Galicia is characterized by a hilly landscape, mountain ranges rise to 2,000 m in the east and south. The coastal areas are mostly a series of rías and cliffs. The climate of Galicia is usually temperate and rainy, with drier summers. Its topographic and climatic conditions have made animal husbandry and farming the primary source of Galicias wealth for most of its history, allowing for a relative high density of population. With the exception of shipbuilding and food processing, Galicia was based on a farming and fishing economy until after the mid-20th century, in 2012, the gross domestic product at purchasing power parity was €56,000 million, with a nominal GDP per capita of €20,700. There are smaller populations around the cities of Lugo and Ourense. The political capital is Santiago de Compostela, in the province of A Coruña, Vigo, in the province of Pontevedra, is the most populous municipality, with 292,817, while A Coruña is the most populous city, with 215,227. 56% of the Galician population speak Galician as their first language and these Callaeci were the first tribe in the area to help the Lusitanians against the invading Romans. The Romans applied their name to all the tribes in the northwest who spoke the same language. In any case, Galicia, being per se a derivation of the ethnic name Kallaikói, the name evolved during the Middle Ages from Gallaecia, sometimes written Galletia, to Gallicia. This coincides with the spelling of the Castilian Spanish name, the historical denomination Galiza became popular again during the end of the 19th and the first three-quarters of the 20th century, and is still used with some frequency today

28.
Art Deco
–
Art Deco, sometimes simply referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. It took its name, short for Arts Decorators, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925 and it combined modernist styles with fine craftsmanship and rich materials. During its heyday, Art Deco represented luxury, glamour, exuberance, Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. It featured rare and expensive materials such as ebony and ivory, the Chrysler Building and other skyscrapers of New York were the most visible monuments of the new style. In the 1930s, during the Great Depression, the became more subdued. New materials arrived, including chrome plating, stainless steel and plastic, a more sleek form of the style, called Streamline Moderne, appeared in the 1930s, it featured curving forms and smooth, polished surfaces. Art Deco became one of the first truly international architectural styles, with examples found in European cities, the style came to an end with the beginning of World War II. Deco was replaced as the dominant global style by the functional and unadorned styles of modernism. The term arts décoratifs was first used in France in 1858, in 1868, Le Figaro newspaper used the term art décoratifs with respect to objects for stage scenery created for the Théâtre de lOpéra. In 1875, furniture designers, textile, jewelry and glass designers and it took its present name of ENSAD in 1927. The term Art déco was then used in a 1966 newspaper article by Hillary Gelson in the Times, describing the different styles at the exhibit. Art Deco gained currency as a broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major book on the style. Hillier noted that the term was already being used by art dealers and cites The Times, in 1971, Hillier organized an exhibition at the Minneapolis Institute of Arts, which he details in his book about it, The World of Art Deco. The emergence of Art Deco was closely connected with the rise in status of decorative artists, the term arts décoratifs had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The Société des artistes décorateurs, or SAD, was founded in 1901, a similar movement developed in Italy. The first international exhibition devoted entirely to the arts, the Esposizione international dArte decorative moderna, was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including Arts et décoration, Decorative arts sections were introduced into the annual salons of the Sociéte des artistes français, and later in the Salon dautomne. French nationalism also played a part in the resurgence of decorative arts, in 1911 the SAD proposed the holding of a major new international exposition of decorative arts in 1912

29.
Modern architecture
–
Modern architecture or modernist architecture is a term applied to a group of styles of architecture which emerged in the first half of the 20th century and became dominant after World War II. The revolution in materials came first, with the use of cast iron, plate glass, the cast plate glass process was invented in 1848, allowing the manufacture of very large windows. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an example of iron and plate glass construction, followed in 1864 by the first glass. These developments together led to the first steel-framed skyscraper, the ten-story Home Insurance Building in Chicago, the iron frame construction of the Eiffel Tower, then the tallest structure in the world, captured the imagination of millions of visitors to the 1889 Paris Universal Exposition. French industrialist François Coignet was the first to use iron-reinforced concrete, in 1853 Coignet built the first iron reinforced concrete structure, a four story house in the suburbs of Paris. Another important technology for the new architecture was electric light, which reduced the inherent danger of fires caused by gas in the 19th century. This break with the past was particularly urged by the architectural theorist, for each function its material, for each material its form and its ornament. This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, at the end of the 19th century, a few architects began to challenge the traditional Beaux Arts and Neoclassical styles that dominated architecture in Europe and the United States. The Glasgow School of Art 1896-99) designed by Charles Rennie MacIntosh, had a facade dominated by large bays of windows. The Art Nouveau style was launched in the 1890s by Victor Horta in Belgium and Hector Guimard in France, it introduced new styles of decoration, based on vegetal and floral forms. In 1903-1904 in Paris Auguste Perret and Henri Sauvage began to use reinforced concrete, previously used for industrial structures. Between 1910 and 1913, Auguste Perret built the Théâtre des Champs-Élysées, because of the concrete construction, no columns blocked the spectators view of the stage. Otto Wagner, in Vienna, was another pioneer of the new style, in his book Moderne Arkchtekture he had called for a more rationalist style of architecture, based on modern life. Wagner declared his intention to express the function of the building in its exterior, the reinforced concrete exterior was covered with plaques of marble attached with bolts of polished aluminum. The interior was purely functional and spare, an open space of steel, glass. The Viennese architect Adolf Loos also began removing any ornament from his buildings and his Steiner House, in Vienna, was an example of what he called rationalist architecture, it had a simple stucco rectangual facade with square windows and no ornament. The fame of the new movement, which known as the Vienna Secession spread beyond Austria. Josef Hoffmann, a student of Wagner, constructed a landmark of early modernist architecture and this residence, built of brick covered with Norwegian marble, was composed of geometric blocks, wings and a tower

30.
Alfonso XIII of Spain
–
Alfonso XIII was King of Spain from 1886 until the proclamation of the Second Republic in 1931. Alfonso was monarch from birth as his father, Alfonso XII, had died the previous year, Alfonsos mother, Maria Christina of Austria, served as regent until he assumed full powers on his sixteenth birthday in 1902. With the political failure of the dictatorship, Alfonso impelled a return to the democratic normality with the intention of regenerating the regime, nevertheless, it was abandoned by all political classes, as they felt betrayed by the kings support of the dictatorship of Primo de Rivera. He left Spain voluntarily after the elections of April 1931. In exile, he retained his claim to the throne until 1941. Buried in Rome, his remains were not transferred until 1980 to the Pantheon of the Kings in the monastery of El Escorial, Alfonso was born in Madrid on 17 May 1886. He was the son of Alfonso XII of Spain, who had died in November 1885. The French newspaper Le Figaro described the king in 1889 as the happiest. His mother, Maria Christina of Austria, served as his regent until his 16th birthday, during the regency, in 1898, Spain lost its colonial rule over Cuba, Puerto Rico, Guam and the Philippines to the United States as a result of the Spanish–American War. When he came of age in May 1902, the week of his majority was marked by festivities, bullfights, balls, by 1905, Alfonso was looking for a suitable consort. On a state visit to the United Kingdom, he stayed at Buckingham Palace with King Edward VII, there he met Princess Victoria Eugenie of Battenberg, the Scottish-born daughter of Edwards youngest sister Princess Beatrice, and a granddaughter of Queen Victoria. He found her attractive, and she returned his interest, there were obstacles to the marriage. Victoria was a Protestant, and would have to become a Catholic, Victorias brother Leopold was a haemophiliac, so there was a 50 percent chance that Victoria was a carrier of the trait. Victoria was willing to change her religion, and her being a carrier was only a possibility. Maria Christina was eventually persuaded to drop her opposition, in January 1906 she wrote an official letter to Princess Beatrice proposing the match. Victoria met Maria Christina and Alfonso in Biarritz, France, later that month, in May, diplomats of both kingdoms officially executed the agreement of marriage. Alfonso and Victoria were married at the Royal Monastery of San Jerónimo in Madrid on 31 May 1906, with British royalty in attendance, including Victorias cousins the Prince, the wedding was marred by an assassination attempt on Alfonso and Victoria by Catalan anarchist Mateu Morral. As the wedding procession returned to the palace, he threw a bomb from a window which killed or injured several bystanders and members of the procession, on 10 May 1907, the couples first child, Alfonso, Prince of Asturias, was born

31.
Miguel Primo de Rivera
–
He deeply believed that it was the politicians who had ruined Spain and that governing without them he could restore the nation. His slogan was Country, Religion, Monarchy, historians depict him as an inept dictator who lacked clear ideas and political acumen, and who alienated his potential supporters such as the army. He did not create a base of support among the voters and his actions discredited the king and ruined the monarchy, while heightening social tensions that led in 1936 to a full-scale Spanish Civil War. On the death of his uncle in 1921 he became Marques de Estella, with the support of King Alfonso XIII and the army, Primo de Rivera led a military coup in September 1923. He was appointed Prime Minister by the King and he promised to eliminate corruption and to regenerate Spain. In order to do this he suspended the constitution, established law, imposed a strict system of censorship. Primo de Rivera initially said he would rule for only 90 days, however, little social reform took place but he attempted to reduce unemployment by spending money on public works. To pay for this, Primo de Rivera introduced higher taxes on the rich, when they complained he chose to change his policies and attempted to raise money by public loans. This caused rapid inflation and—after losing support of the army—he was forced to resign in January 1930, after his death, his son, José Antonio Primo de Rivera, played an important role in the development of fascism in Spain. Miguel Primo de Rivera was born into a military family of Jerez de la Frontera. His father was a retired colonel and his uncle, Fernando, was Captain General in Madrid and the soon-to-be first marquis of Estella. Fernando later participated in the plot to restore the monarchy in 1875. His great-grandfather was Bértrand Primo de Rivera, 21st Count of Sobremonte, studying history and engineering before deciding upon a military career, he won admission to the newly created General Academy in Toledo, and graduated in 1884. His army career gave him a role as officer in the colonial wars in Morocco, Cuba. He then held several important military posts including the captain-generalship of Valencia, Madrid and he showed courage and initiative in battles against the Berbers of the Rif region in northern Morocco, and promotions and decorations came steadily. Primo de Rivera became convinced that Spain probably could not hold on to its North African colony, for many years, the government had tried without success to crush the Berber rebels, wasting lives and money. He concluded Spain must withdraw from what was called Spanish Morocco if it could not dominate the colony and he was familiar with Cuba and the Philippines, in 1898 he watched the humiliating defeat in the Spanish–American War, bringing a close to his nations once-great empire. That loss frustrated many Spaniards, Primo de Rivera included and they criticized the politicians and the parliamentary system which could not maintain order or foster economic development at home, nor preserve the vestiges of Spains imperial glory

32.
Wall Street Crash of 1929
–
The crash, which followed the London Stock Exchanges crash of September, signaled the beginning of the 12-year Great Depression that affected all Western industrialized countries. The Roaring Twenties, the decade that followed World War I and led to the crash, was a time of wealth, while the American cities prospered, the overproduction of agricultural produce created widespread financial despair among American farmers throughout the decade. This would later be blamed as one of the key factors that led to the 1929 stock market crash, despite the dangers of speculation, many believed that the stock market would continue to rise forever. On March 25,1929, after the Federal Reserve warned of excessive speculation, two days later, banker Charles E. Mitchell announced his company the National City Bank would provide $25 million in credit to stop the markets slide. Mitchells move brought a halt to the financial crisis and call money declined from 20 to 8 percent. Despite all these economic trouble signs and the breaks in March and May 1929, stocks resumed their advance in June. The market had been on a run that saw the Dow Jones Industrial Average increase in value tenfold. Shortly before the crash, economist Irving Fisher famously proclaimed, Stock prices have reached what looks like a high plateau. The optimism and financial gains of the bull market were shaken after a well publicized early September prediction from financial expert Roger Babson that a crash was coming. The initial September decline was thus called the Babson Break in the press and this was the start of the Great Crash, although until the severe phase of the crash in October, many investors regarded the September Babson Break as a healthy correction and buying opportunity. On September 20, the London Stock Exchange crashed when top British investor Clarence Hatry and many of his associates were jailed for fraud, the London crash greatly weakened the optimism of American investment in markets overseas. In the days leading up to the crash, the market was severely unstable, periods of selling and high volumes were interspersed with brief periods of rising prices and recovery. On October 24, the market lost 11 percent of its value at the bell on very heavy trading. Several leading Wall Street bankers met to find a solution to the panic and chaos on the trading floor. The meeting included Thomas W. Lamont, acting head of Morgan Bank, Albert Wiggin, head of the Chase National Bank and they chose Richard Whitney, vice president of the Exchange, to act on their behalf. With the bankers financial resources behind him, Whitney placed a bid to purchase a block of shares in U. S. Steel at a price well above the current market. As traders watched, Whitney then placed similar bids on other blue chip stocks and this tactic was similar to one that ended the Panic of 1907. It succeeded in halting the slide, the Dow Jones Industrial Average recovered, closing with it down only 6.38 points for the day

33.
Avinguda de la Reina Maria Cristina
–
Avinguda de la Reina Maria Cristina is an avenue in the Sants-Montjuïc district of Barcelona linking Plaça dEspanya with Museu Nacional dArt de Catalunya on Montjuïc hill. It is named after Maria Christina of the Two Sicilies, queen consort, part of the Fira de Barcelona is based here, with a number of yearly trade, technology and fashion fairs and festivals being held in this location. Its also the point of the Barcelona Marathon. The twin Venetian Towers are a landmark at the junction of this avenue with Plaça dEspanya. Barcelona Metro – Espanya TMB bus line L97

34.
Eixample
–
The Eixample is a district of Barcelona between the old city and what were once surrounding small towns, constructed in the 19th and early 20th centuries. Its population was 262,000 at the last census, the Eixample is characterized by long straight streets, a strict grid pattern crossed by wide avenues, and square blocks with chamfered corners. The important needs of the inhabitants were incorporated into his plan, today, most of the markets remain open in the spots they have been from the beginning. Some parts of the Eixample were influenced by Modernista architects, chief among whom was Antoni Gaudí and his work in the Eixample includes the Casa Milà and the Casa Batlló, both of which are on the wide Passeig de Gràcia, as well as the Sagrada Família. The Casa Terrades, better known as Casa de les Punxes, is replete with Mediaeval allusions that stands at the junction of Av. It was built in 1903-5 by the Modernista architect Josep Puig i Cadafalch, who used Nordic Gothic and Spanish Plateresque resources side by side, along with traditional Catalan motifs. The block is so named due to the clash between the buildings, its Spanish name, Manzana de la Discordia, is also a pun on Eriss Apple of Discord - manzana means both apple and city block. Traditionally and officially it is divided into five neighbourhoods and these are, in addition to the areas already mentioned, Sant Antoni, Sagrada Família and Fort Pienc, also known as Fort Pius. The latter has become notable for the number of Asian, chiefly Chinese residents. It also has a proportion of immigrant population. Other wide avenues in the area include Carrer dAragó, Carrer de Balmes, there is a Japanese library in Eixample that opened in 1992. Most of the patrons are Japanese, though locals may use the facilities. The library is located inside a flat, list of streets and squares in Eixample Districts of Barcelona Eixample travel guide from Wikivoyage Superilles, the new Eixample

35.
Traffic circle
–
A traffic circle is a type of intersection that directs both turning and through traffic onto a one-way circular roadway, usually built for the purposes of traffic calming or aesthetics. Colloquially, however, roundabouts are sometimes referred to as circles, in the United States, traffic engineers typically use the term rotary for large scale circular junctions between expressways or controlled-access highways. Rotaries typically feature high speeds inside the circle and on the approaches, in New England, traffic circles are generally called rotaries and the traffic that is already driving in the rotary always has the right of way. For examples of where this is specified, in Massachusetts Any operator of a vehicle entering a rotary intersection shall yield the right-of-way to any vehicle already in the intersection, in Rhode Island entering vehicles Yield to vehicles in the roundabout. Distinct from roundabouts, traffic circles and rotaries may also have a lane that requires traffic on it to change lanes in order to exit the circle. Design criteria include, Right-of-way, Whether entering or circling vehicles have the right of way, the New Jersey Drivers Manual recommends that, in the absence of flow control signs, traffic yields based on historically established traffic flow patterns, and there are no set rules. In New England, Washington, D. C. and New York State, entering traffic yields, angle of entry, Angles range from glancing that allow full-speed entry to 90 degree angles. Traffic speed, High entry speeds require circulating vehicles to yield, often stopping, lane changes, Allowed or not Diameter, The greater the traffic, the larger the circle. Island function, Parking, parks, fountains, etc, french architect Eugène Hénard was designing one-way circular intersections as early as 1877. American architect William Phelps Eno favored small traffic circles and he designed New York Citys famous Columbus Circle, which was built in 1905. Other circular intersections were built in the United States, though many were large diameter rotaries that enabled high speed merge. These designs were doomed to failure for two reasons, It takes a large diameter circle to provide enough room for merging at speed. Although some of these circles were huge, they were not large enough for high-speed merging, giving priority to entering traffic means that more vehicles can enter the circulatory roadway than it can handle. The result is congestion within the circle which could not clear without police intervention, the experience with traffic circles and rotaries in the USA was almost entirely negative, characterized by high accident rates and congestion problems. By the mid 1950s, construction of circles and rotaries had ceased entirely. The experience with traffic circles in other countries was not much better until the development of the roundabout in the United Kingdom during the 1960s. Starting in the 1990s the USA saw a revival of mostly smaller traffic circles, the modern roundabout finally arrived in the United States in 1990 in Summerlin, a major Las Vegas residential subdivision. As of December,2015 there are about 4800 of these modern roundabouts in the United States, as an example, Washington State contains about 120 roundabouts as of October 2016, all having been built since 1997 with more planned

36.
Colonnade
–
In classical architecture, a colonnade denotes a long sequence of columns joined by their entablature, often free-standing, or part of a building. Paired or multiple pairs of columns are normally employed in a colonnade which can be straight or curved, the space enclosed may be covered or open. In St. Peters Square in Rome, Berninis great colonnade encloses a vast open elliptical space, when in front of a building, screening the door, it is called a portico, when enclosing an open court, a peristyle. A portico may be more than one rank of columns deep, colonnades have been built since ancient times and interpretations of the classical model have continued through to modern times, and Neoclassical styles remained popular for centuries. At the British Museum, for example, porticos are continued along the front as a colonnade, the porch of columns that surrounds the Lincoln Memorial in Washington, D. C. can be termed a colonnade. The longest colonnade in the United States, with 36 Corinthian columns, is the New York State Education Building in Albany, New York

37.
Gian Lorenzo Bernini
–
Gian Lorenzo Bernini was an Italian sculptor and architect. While a major figure in the world of architecture, he was the sculptor of his age. Bernini was also a figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect Francesco Borromini. Early in their careers they had all worked at the time at the Palazzo Barberini, initially under Carlo Maderno and, following his death. Later on, however, they were in competition for commissions, Peters Basilica, completed under Pope Paul V with the addition of Madernos nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Berninis design of the Piazza San Pietro in front of the Basilica is one of his most innovative, during his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early age, he came to the attention of the nephew, Cardinal Scipione Borghese. Although he did not fare so well during the reign of Innocent X, under Alexander VII, he again regained pre-eminent artistic domination. Bernini and other artists fell from favor in later neoclassical criticism of the Baroque, the art historian Howard Hibbard concludes that, during the seventeenth century, there were no sculptors or architects comparable to Bernini. Bernini was born in Naples in 1598 to Angelica Galante and Mannerist sculptor Pietro Bernini and he was the sixth of their thirteen children. Gianlorenzo Bernini was the definition of childhood genius and he was “recognized as a prodigy when he was only eight years old, he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as ‘the Michelangelo of his century’” and his father was so impressed by his son’s obvious talent that he took him to Rome to showcase him to the cardinals and Pope. Bernini was presented before Pope Paul V, for whom he did a sketch of Saint Paul, once he was brought to Rome, he never left. “For Bernini there could be only one Rome, ‘You are made for Rome, ’ said Pope Urban VIII to him, ‘and Rome for you’”. It was in world of 17th century Rome and religious power. Under the patronage of the wealthy and most powerful Cardinal Scipione Borghese. By the time he was twenty-two, he was considered talented enough to have given a commission for a papal portrait. Berninis reputation, however, was established by four masterpieces

38.
St. Peter's Square
–
St. Peters Square is a large plaza located directly in front of St. Peters Basilica in the Vatican City, the papal enclave inside Rome, directly west of the neighbourhood or rione of Borgo. Both the square and the basilica are named after Saint Peter, an apostle of Jesus, at the centre of the square is an ancient Egyptian obelisk, erected at the current site in 1586. Gian Lorenzo Bernini designed the square almost 100 years later, including the massive Tuscan colonnades, four columns deep, a granite fountain constructed by Bernini in 1675 matches another fountain designed by Carlo Maderno in 1613. Bernini had been working on the interior of St, there were many constraints from existing structures. The massed accretions of the Vatican Palace crowded the space to the right of the basilicas façade, the colossal Tuscan colonnades, four columns deep, frame the trapezoidal entrance to the basilica and the massive elliptical area which precedes it. The ovato tondos long axis, parallel to the basilicas façade, the elliptical center of the piazza, which contrasts with the trapezoidal entrance, encloses the visitor with the maternal arms of Mother Church in Berninis expression. On the south side, the colonnades define and formalize the space, on the north side, the colonnade masks an assortment of Vatican structures, the upper stories of the Vatican Palace rise above. The obelisk was erected at Heliopolis, Egypt, by an unknown pharaoh. The Emperor Augustus had the moved to the Julian Forum of Alexandria, where it stood until 37 AD, when Caligula ordered the forum demolished. He had it placed on the spina which ran along the center of the Circus of Nero, the Vatican Obelisk is the only obelisk in Rome that has not toppled since ancient Roman times. During the Middle Ages, the ball on top of the obelisk was believed to contain the ashes of Julius Caesar. Fontana later removed the ancient metal ball, now in a Rome museum, Christopher Hibbert writes that the ball was found to be solid. Though Bernini had no influence in the erection of the obelisk, he did use it as the centerpiece of his magnificent piazza, the paving is varied by radiating lines in travertine, to relieve what might otherwise be a sea of cobblestones. In 1817 circular stones were set to mark the tip of the shadow at noon as the sun entered each of the signs of the zodiac. Below is a view of St. Peters Square from the cupola which was taken in June,2007, St. Peters Square today can be reached from the Ponte SantAngelo along the grand approach of the Via della Conciliazione. The spina which once occupied this grand avenue leading to the square was demolished ceremonially by Benito Mussolini himself on October 23,1936 and was demolished by October 8,1937. St. Peters Basilica was now visible from the Castel SantAngelo. After the spina, almost all the south of the passetto were demolished between 1937 and 1950, obliterating one of the most important medieval and renaissance quarters of the city

39.
Venetian Towers
–
The Venetian Towers is the popular name for a pair of towers on Avinguda de la Reina Maria Cristina at its junction with Plaça dEspanya in Barcelona, Catalonia, Spain. There is one tower on either side of the street, the towers are 47m high, with a 7.2 metres square cross-section. They were modelled on the campanile of St, originally, the towers were open to the public, who could climb the internal stairs to the viewing galleries, but they are now normally closed. The towers are registered as protected structures by Barcelona city council, with a level of B, B. During September 2013, the towers started undergoing extensive restoration work costing €472,000, following the restoration work, the towers opened to the public for the first time since 1929, for a two-day period during October 2014